The International Magazine Exclusively For Drummers
HANDLING HOTELS
Guidelines For The Traveling Drummea
Plus:
Rhythmic Transposition
Ambidextrous Drumming
The Rhythm Section:. A Dialog
1
Music to your eyes.
The new Spotlight finishes. Audio-visual, Ludwig style.
Wrap yourself in one of the rich new silks, or put a little polish
in your stage presence with glossy renditions
of classic black or white.
Spotlight finishes- six beautiful new ways to get the Ludwig sound.
See them live at your Ludwig dealer.
LUDWIG INDUSTRIES, INC
A SE1 Mi R COMPANY
1728 Nchi h Damen Ave nue, C h icago, IL 60W 7
MODERN DRUMMER
VOL 7, NO. 5
Cover Photo by Rick Malkin
CONTENTS
FFATIIRFS _
EARL PALMER
Being the drummer for most of Fats Domino's and Little
Richard's records would have been enough to insure that Earl
Palmer's name would be included in the annals of rock. But as one
of the most in-demand L.A. studio drummers, Palmer has left a
recorded legacy that goes far beyond rock 'n' roll, and guarantees
_ Earl a chapter in the overall history of drumming. _
_ by Robyn Flans .... .... 8
CHAD WACKERMAN
Any drummer who can handle gigs with such diverse artists as
Frank Zappa, Alan Holdsworth and Bill Watrous deserves
respect, and when that drummer is revealed to be only 22 years old,
the respect becomes combined with amazement. Chad discusses
the background which prepared him for these very demanding
musicalsituations.
by Dave Levine *... 14
TERRI LYNE CARRINGTON
Just a few years ago, Terri Lyne was getting attention as somewhat
of a "novelty"—a 12-year-old girl who played drums. Since that
time, she has consistently shown that her success is not based on
being a novelty, but rather, it is based on talent, musical
awareness, and the determination to reach the goals she has set for
_ herself. _
by Scott K. Fish .____._- 18
HANDLING HOTELS
A Guide For the Traveling Drummer
by Kevin B. Mohror 77777777 , .... ............ 22
ELI KONIKOFF
_ Transmitting the Inspiration
by Jim Dinella & Janet Ricotta ........ 24
COLUMNS
EDUCATION
UNDERSTANDING RHYTHM
Odd Time Signatures
by Nick Forte* ........... ....... 30
ROCK ’N’ JAZZ CLINIC
Towards Ambidexterity
by David Moylan ......T
STRICTLY TECHNIQUE
Accented Press Rolls
by Lee Doiand ..
44
60
CONCEPTS
Buddy Rich: Dedication to Excellence
by Koy burns..62
TEACHER’S FORUM
Listening to Learn
by Ray Fransen.
78
JAZZ DRUMMERS WORKSHOP
Bass & Drums: A Dialogue With
George Marsh and Mel Graves
by unarles ivi. bernstem.
80 -
DRUM SOLOIST
Dannie Richmond:
Drums"
"Three Worlds of
by David Wood...... 90
ROCK PERSPECTIVES
EQUIPMENT
PRODUCT CLOSE-UP
Set-The-Pace Practice Pads
- by Bob Saydlowski, Jr. ....
64
DRUMMERS EQUIPMENT
REFERENCE
Cymbal Stands
by Bob Saydlowski, Jr.. 66
SHOP TALK
Adjusting for Softer Drumming
by Simon Goodwin.. 72
.............. 114
JUST DRUMS
PROFILES
PORTRAITS
Kenwood Dennard
by Konaid Hayek & David Corsi... 70
Transposition
ON TRACK ,
by Randy Martin.... 100
REVIEWS
68
NEWS
IN MEMORIAM
Karen Carpenter
by Robyn Flans . 104
UPDATE
— by Robyn Flans.
INDUSTRY HAPPENINGS
110
112
DEPARTMENTS
EDITOR’S OVERVIEW] ..... 2
. 4
.6
READER’S PLATFORM
ASK A PRO
DRUM MARKET .. 96
STAYING IN TUNE
by Hal blame.
IT’S QUESTIONABLE
by Michael Lpstem .... <
106
108
MAY 1983
1
Mail-order buying. Every year, thousands of Americans purchase millions-
of-dollars worth of goods and services through the mail.
As you're undoubtedly aware, Modern Drummer runs its fair share of
ads designed to get you to drop a check in the mail in return for percussion
merchandise. And though a small percentage of people may report less-
than-favorable experiences with mail-order buying, I honestly believe the
vast majority of mail-order operations are headed by sincere businessmen,
who are anxious to satisfy their customers. Unfortunately, it's the unethi¬
cal minority which tends to give a bad reputation to the entire industry.
Though we make an effort to verify the credibility of mail-order adver¬
tisers, in truth, it's rather impossible to affix the Modern Drummer Stamp
of Approval on each and every one. There's hardly a publication in exist¬
ence that can vouch for all their advertisers, in every issue. Fortunately,
we've never had many complaints in this area, and those that have been
brought to our attention appear to revolve around delays.
Keep in mind when you buy through the mail that essentially you're
dealing with the postal service, or at best, an independent parcel carrier. In
either case, delays are apt to occur. Also remember that your order must be
received, processed, packed and delivered. Some companies also prefer to
wait until your check has cleared before fulfilling your order. It's not at all
uncommon for the entire procedure to take four to six weeks, or more.
Many large mail-order firms will acknowledge receipt of your order and
specify how long you can expect to wait for delivery. For those that don't,
I've always maintained that an approximate time allowance should be
specified in the advertisement itself. This can be quite reassuring to a
buyer, and though some advertisers feel this tactic deters customers from
ordering, I prefer to view it as a means of avoiding potential problems.
Earlier, I mentioned the difficulty in vouching for the credibility of every
mail-order advertiser in the magazine. However, don't take that to mean
you shouldn't notify us if you have a legitimate complaint.
First, be certain you've allowed enough time to elapse. Assuming you've
done so, you then have every right to contact the supplier and request an
explanation. The firm should also give you a clear idea of when you can
expect delivery. If, for some reason, this approach fails, feel free to drop
us a line that spells out all the details of the transaction: name of supplier,
the issue in which you saw the ad, merchandise ordered, dates, copies of
checks and order forms, and any other relevant information. We'll make
every effort to investigate the matter. We've had remarkable success with
the few problems reported to us over the years. And though it's never been
one of our favorite activities, it is part of our responsibility to any reader
who might encounter a problem with an MD mail-order advertiser.
Once again, only a very small percentage of readers have ever reported
problems. However, we'd still like to know about it should you find your¬
self among that small group. _
STAFF:
EDITOR/PUBLISHER
Ronald Spagnardi
FEATURES EDITOR
Rick Mattingly
MANAGING EDITOR
Scott Fish
ASSOCIATE EDITORS
Michael Epstein
Mark Hurley
ART DIRECTOR
David Creamer
ADVERTISING DIRECTOR
Kevin W. Kearns
ADMINISTRATIVE DIRECTOR
Isabel Spagnardi
ADMINISTRATIVE MANAGER
Ann Thompson
ASSISTANT ADMINISTRATIVE
MANAGER
Ellen Urry
DEALER SERVICE MANAGER
Janet Gola
CIRCULATION
Leo L. Spagnardi
Robin DePaul
Lori-Jean Syintsakos
SALES PROMOTION MANAGER
Evelyn Urry
MD ADVISORY BOARD
Henry Adler, Carmine Appice, Louie Bellson,
Bill Bruford, Roy Burns, Jim Chapin, Billy
Cobham, Les DeMerle, Len DiMuzio, Charlie
Donnelly, Saul Goodman, Danny Gottlieb,
Sonny Igoe, Jaimoe Johanson, Jim Keltner,
Don Lamond, Mel Lewis, Peter Magadini,
George Marsh, Butch Miles, Joe Morello, Neil
Peart, Charlie Perry, Charli Persip, Arthur
Press, Paul T. Riddle, Ed Shaughnessy, Ed
Thigpen, Max Weinberg.
CONTRIBUTING WRITERS
Susan Alexander, Rich Baccaro, Charles M.
Bernstein, Robert Carr, Jim Dearing, Clint
Dodd, Robyn Flans, Stanley Hall, Dave Levine,
Robin Tolleson, T. Bruce Wittet.
MODERN DRUMMER Magazine (ISSN 0194-
4533) is published monthly by Modern Drum¬
mer Publications, Inc., 1000 Clifton Avenue,
Clifton, NJ. 07013. Second Class Postage paid
at Clifton, N.J. 07015 and at additional mailing
offices. Copyrighted 1983 by Modern Drummer
Publications, Inc. All rights reserved. Repro¬
duction without the permission of the publisher
is prohibited. SUBSCRIPTIONS: $21.95 per
year, $39.95, two years. Single copies $2.25.
MANUSCRIPTS : Modern Drummer welcomes
manuscripts, however, cannot assume responsi¬
bility for them. Manuscripts must be accompa¬
nied by a self-addressed stamped envelope.
CHANGE OF ADDRESS: Allow at least six
weeksfor a change. Please provide both old and
new address. MUSIC DEALERS: Modern
Drummer is available for resale at bulk rates.
Direct correspondence to Modern Drummer
Publications, Inc., 1000 Clifton Avenue, Clif¬
ton, N.J. 07013. (201) 778-1700. POSTMAS¬
TER: Send Address Changes to Modern Drum¬
mer, 1000 Clifton Avenue, Clifton, N.J. 07013.
2
MAY 1983
The Shadow Knows
Who knows what power and pulse lurks in the heart of a drummer. . .
the Shadow knows.
From the richness of the special ebony stain wood finish, to the depth and projection
of the oversized Resonator shells, the Black Shadow is Premier quality personified.
Get to know a Black Shadow set at your Premier dealer today.
The Black Shadow
FOR MORE INFORMATION SEND $1 OQ TO: PREMIER PERCUSSION. 105 FIFTH AVE.. GARDEN CITY PARK, NY 1 1040
DRAT!
Drat! Here we are, right in the middle of
drumming's most exciting era to date, and
this column begins to display letters from
drummers who seem dedicated to retard¬
ing the art's progress. I refer to those who
insist that "This grip, stick, head, cymbal,
etc. is the absolute best." Mind closed.
Oh, for Gadd's sake, folks. Let's get our
(drum) heads out of our hip pockets. If one
wishes to become stagnant in the ever-
changing, multi-faceted world of music—
that's fine. But, do the rest of us a favor:
Shut your ignorant mouth and get out of
the way. You don't count, and ultimately
you won't matter. You're simply dead
weight that impedes a vivacious art form.
We should all listen to each other (and steal
each other's best concepts to add to our
own) and encourage one another to find
new and exciting ways to translate feelings
into musical terms at all levels of technical
execution. The only truly "bad drummer"
is the one who cannot make the band hap¬
pen. Our drumming, like our lives, must be
an individualistic effort if it's to mean any¬
thing to anyone. So, let's quit this non¬
sense of trying to limit other players to our
own concepts. Everyone should do it dif¬
ferently.
Burt Dotson
Tullahoma, TN
ROY BURNS’ AQUARIAN X-10 f s
In response to Dick Moore's criticism of
Mr. Saydlowski's review of synthetic
sticks, I'd like to state the following: Upon
re-reading the review, it's obvious that X-
10’s have less furring in the neck area than
the Riff Rite sticks. This is true, based on
our own tests. Our Lites with graphite will
outlast Riff Rite sticks and they're much
less expensive. Our graphite stick is solid.
There's no seam (which can open up) and
no hole in the center (which can collapse).
X-lO’s were not intended to equal wood.
They were designed to surpass wood.
Weight and durability are inseparable. X-
10’s are for today's physical drummers.
They're not intended for old-fashioned or
polite drummers. Our Lites with graphite
fill the needs of sensitive players.
As far as weight, size and balance are
concerned, each drummer must make an
individual evaluation. Hand size, drum
sizes, muffling, tuning, and the volume of
the group must all be taken into consider¬
ation. I found Bob Saydlowski's review to
be both fair and objective.
Roy Burns
Aquarian Accessories, Inc.
Anaheim, CA
OLD AND NEW INSPIRATION
Somehow in pursuit of a larger/younger
readership, you've strayed from featuring
jazz players to pursue the careers of rock
percussionists. While I'm realistic enough
to realize that supply and demand is first
order, I miss the former idiom. When I was
growing up, I was inspired by Barrett
Deems, Sid Catlett, Jo Jones, Sonny
Payne, Max Roach, Joe Morello and oth¬
ers of their ilk. Although rock 'n' roll was
popular then, it was not appreciated by se¬
rious musicians including top caliber
drummers who made their living playing
jazz. Then came the Beatles with Ringo
Starr, and somehow the industry decided
that they had to completely change their
"act" around to cater to a youth-oriented
market.
The most important question I have to
ask is: How can you possibly select John
Bonham and Steve Gadd for your MD
Hall of Fame without including Cozy
Cole? I never heard John Bonham. Steve
Gadd is one of the greatest drummers to¬
day but he's not a band drummer. Billy
Cobham and Tony Williams are great also,
but they're not band drummers. Les De-
Merle, Butch Miles, Ed Soph, Jeff Hamil¬
ton, Duffy Jackson, John Von Ohlen,
Gary Hobbs and Greg Field are all band
drummers. A band drummer is a drummer
who plays in big bands. These drummers
are heard with small groups, but if they get
a call from a big band they can not only cut
the session, but they're right at home.
Doug Light
Los Angeles, CA
Editor’s Note: The drummers in MD’s
Hall of Fame were elected by the MD read¬
ers. Thus far , the following drummers
have been elected to the Hall of Fame:
Gene Krupa; Buddy Rich , John Bonham
and Keith Moon. _
MOOS NOT LUCE
As — for better or worse — credits are so
much of a musician's life, I would appreci¬
ate you correcting the impression in the
January '83 MD, that the singer/song¬
writer in Jim Gordon's new band is Steven
Luce. That should be Steven Moos.
Steven Moos
Burbank, CA
JAIMOE
The Elvin Jones article was a good one.
James Black? Good to see someone who's
not in the public eye brought to the surface
in the most published magazine in the
world as far as "educated" and "ear"
(like myself) musicians.
Jaimoe Johnson
Macon, GA
MD READER ON VENUS
Becquie Venus' commentary on Gina
Schock was the last criticism of a success¬
ful artist that I could silently accept. Gina
Schock may not be the greatest drummer
of all time, but she's as musical and sensi¬
tive as anyone else. If you want to criticize
someone, keep it to yourself and think
about this: If you have heard them, but
they have not heard you—they're doing
something right and you're not! So be a
smart drummer and be open minded be¬
cause you'll learn a lot more musically and
psychologically.
Steven LaCerra
Brooklyn, NY
ON FIRE
In the February '83 MD Reader's Plat¬
form, Charlie Lynch's statement that
"Evans heads cannot take a true tuning
and are dead in character" is strictly not
true. His statement that "the best drum¬
heads are medium weight general pur¬
pose" is a bit much to take. I tried the
Evans Hydraulics and they worked fine.
No complaints from my sound man or the
players and the audience. I used to do a fire
act and lit my drums on fire and the Remo
heads couldn't take the heat. The Evans
kept right on night after night. Let people
decide for themselves what sounds best.
That's what freedom of choice is all about.
James M. Driver, Jr.
Panama City, FL
REMO PTS DRUMHEADS
I appreciated reading what Charlie Lynch
had to say concerning our new PTS drum¬
heads. I've never tried to hear for anyone.
I believe that all of us that deal in sounds,
hear what our ears will allow us to. I dis¬
agree with Mr. Lynch in that I believe the
PTS drumheads to be pre-tuned; not just
pre-tensioned. The heads, in general, are
in tune with themselves. All other philo¬
sophical thoughts concerning what should
and shouldn't be are of a highly personal
nature.
Remo D. Belli
President: Remo, Inc.
N. Hollywood, CA
CURING SNARE STRING BREAKAGE
In your February '83 MD, I noticed some¬
one with a question about their snare
strings breaking. I've found that the
sneaker shoe laces that come with Con¬
verse sneakers work quite well. I haven't
broken one yet, and I used to.
Pete Maier
Neptune, NJ
candnurd grj pq** 81
MAY 1963
4
> It's no accident that so many top rock'' ^ ^ ^
^performers and studio drummers are *> ^ ^ ^ ^ ^
' loyal Rogers players.
' ^ N Rogers started in the drum business over
N 100 years ago, and we've led the way in drum
^technology with advances like the Dynasonic®^
L snare, Memriloc® hardware, XL drums, and
| - multi-stack tom holders^ ^ ^
\ ' l ' Visit a Rogers dealer and try out a set.^ ^
“> You'll be joining some very distinguished " ^
* " company.
> It
r *
r £-£■.*
4
■4" V '<*'
^ >
"N > ^
> ’N
M
II 3
rKru ?^
rZET j*
,^(P*** MI*J
.f
r >
' 1 -
w
I
t- '
■■■"V
\ . .''Y v J
. #
% • ^
]
.3^
s%X
OQ
JOE MORELLO
Q. In the-April '82 issue, Danny Got¬
tlieb mentioned that you have a
unique teaching method that I feel
would be helpful to me in my style of
music. Do you have a book out? And
could you please tell me how I could
contact you? Thanks.
Scott W. Krause
Keeneyville, IL
A. I have three books out, published by
me and available through Creative
Music, PO Box 2086, Glenview, III.,
60025. The titles are: Rudimental Jazz,
New Directions in Rhythm and Off The
Record, a collection of transcriptions.
I have a new book coming out this year
that will be published by Modern
Drummer. This one is strictly about
technique. You can write me care of
Dorn and Kirshner Music, 1565 Union
Avenue, Union, NJ 07803.
DAVID GARIBALDI
Q. In the November '82 MD, in the
Paiste Cymbal ad on page seven, you
have what looks like a bendable hi-hat
stand. What is it and who makes it?
S.P.
Lake Station, IN
A. It's a clip-on attachment that was
made for me a year ago by Rogers.
Since I'm not with Rogers anymore, I
don't know what they're going to do
with it. I wanted an attachment where
I could mount a pair of closed hi-hat
cymbals for effect. You can only play
the hi-hats in the closed position. It's
not a bendable hi-hat stand.
BILL BRUFORD
Q. What are your thoughts on your
solo albums? On touring small clubs
as Bruford?
Davedi Risio
_ Wilkes-Barre, PA
NEIL PEART
Q. I recently bought a second drum-
set. I combine it with my old set, and
now I have a really big set-up. I've got¬
ten used to everything but the double
bass. My problem is that I can't keep it
at an even pace most of the time, and
when it is even, it's in 8th notes, and
that's not what I want. I've heard you
use your double bass on a lot of songs
on the Exit: Stage Left album. How did
you learn to use it so well?
Jeff Wald
Woodbine, MD
A. I may be repeating myself here, but
I didn't have a hi-hat for quite a while
when I first began playing, and conse¬
quently, never developed a really
strict discipline for my left foot. This
has its drawbacks, but it did allow me
to adapt to two bass drums easier
than some drummers. It also had the
effect of making the hi-hat very impor¬
tant to me once I did get one, so that
circumstance of doing without one for
a while did have a large effect on my
playing.
The key to mastering it is, as ever,
practice! Once I decided that I mainly
wanted to use the other bass drum for
punctuating fills and for solo work, as
opposed to playing "beats" with it, I
concentrated mainly on my triplets.
As Tommy Aldridge has remarked in
this column, balance has a lot to do
with the smoothness and ease of play¬
ing two bass drums, and I think you've
just got to sit there and play rolls, and
rhythmic combinations using your
hands as well, until you, well, until you
can't sit down any more! Or until the
neighbors drop hand-grenades down
your drainpipe!
A. My solo albums were, forme, a very
personal and risky venture that were
designed to be used as part of a life¬
long process of self-education in mu¬
sic. I learned a lot very quickly and if,
at the same time, I entertained, that's
great too. Some of the music I genu¬
inely liked; some I now find unlisten-
able. But I was acquiring invaluable
experience in handling and directing
music and musicians, which could
not be acquired in any other way. Play¬
ing the music live was exhilarating
and I was only disappointed that, hav¬
ing had a reasonably fair hearing, the
band "Bruford" could not be made to
stand, economically, on its own two
feet without record-company support.
It's the air-freight charges across the
Atlantic — they'll always get you in the
end!
PHIL EHART
Q. In your MD interview, you said you
were afraid that the use of double
bass drums would clutter Kansas' mu¬
sic. At a recent concert I was sur¬
prised to see you using a double bass
set up. What changed your mind?
Also, are you still using your prized
wooden snare?
Kevin Witte
Schaller, la.
A. Good question! To begin with, I
don't consider myself a double bass
drummer. I use it more as an effect for
a particular beat or part of a song,
rather than have it dictate my style.
Recently, for the last couple of al¬
bums, the music was open to the addi¬
tion of the double bass sound, so
that's why the change was made.
I've got about eleven prized wooden
snares. I have been using a 6 1/2" maple
snare fora number of years, and I was
using it on the '81 concert tour.
't
6
MAY 1983
-JeffPorcaro
"Every time I sit behind
my kit, my cymbals inspire
my expression* Very often,
the first cymbal crash on
the downbeat of a tune will
set the mood of my per¬
formance-cymbals are that
important.
They're the most ex¬
pressive part of the drum¬
mer' s kit and a drummer
who uses them well signs
his signature with their
sound.
That's why 1 play Paiste
2 ... 21" 2002*..Crash
1 ... 20" 2002.Crash
1 ... 19" 2002.Crash
1 - -. 22" 2002. Ride
1 ... 22" 2002 ... China
1 .. ■ 8" 2002 .Bell
1 Pr* .14" 2002. .Heavy Hi Hats
Expand your expres¬
sion. Visit a Paiste
Sound Center
and experience
the wealth of
special Paiste
sounds* And for
a short course in cymbal ex¬
pertise, get your hands on the
comprehensive 60'page
Paiste Cymbal Manual and
Profiles 3 book of set-ups and
biographies of hundreds of
top international drummers
and percussionists.
For your copies of the Paiste
Cymbal Manual and Profiles 3
book send $3*00 to cover
postage and handling to:
Fable America* Inc
460 Allas Street, Brea* CA 9262!
i
CYMBALS SOUNDS GONGS
—if s a matter of expression.
The wide variety of sounds
available from Paiste
should be an inspiration to
any drummer."
In addition to being a
founding member of
Toto, Jeffs perfect
balance of taste and
power can be heard
on more records
than can possibly
be listed here. How-
*ftQlo by Risk Malkin
E
r m t o list Earl Palmer’s contribution to mu
m sic records, film and T. V. would take
up an exorbitant amount of space. Perhaps
he is best known for playing on nearly all of the
Fats Domino and Little Richard records, as well as
a great portion of the Motown records, including
such artists as Diana Ross, the Four Tops, the
Temptations, and Smokey Robinson. But this is
one player who cannot be pigeonholed.
Since his arrival in California in 1957, Earl
Palmer has been the consummate musician who
has mastered the art of versatility. As far as ses¬
sions, his ledger contains such other artists as
Bobby Darin, Jan & Dean, Sonny & Cher, Johnny
Mathis, Ray Charles, Gary Lewis, the Young
Americans, Frank Sinatra, Sarah Vaughn, James
Darren, Tiny Tim, Frankie Avalon, Neil Young,
the Everly Brothers, the Righteous Brothers, Joni
Mitchell and a countless list of other names. He
has played on such T. V. shows as 77 Sunset Strip,
Hawaiian Eye, The Bold Ones, films such as Ma-
digan, In Cold Blood, Finian's Rainbow, Valley of
the Dolls, Barefoot in the Park, and In the Heat of
theNight.
It is unfortunate that his ledger contains only
names of artists,
films and shows.
There are no song ti¬
tles and I teased him
mercilessly about the
fact that those details
escape him. With his
LMER
multitude of
accomplish¬
ments, it is
understand¬
able that
some of the
by Robyn Flans
details blur.
He is a man who
could easily choose to
rest on his laurels, but
that is not Earl
Palmer. He is vital,
energetic, enthusias¬
tic, and last, but not least, concerned; concerned
about the state of the art and the state of the indus¬
try.
This lastyear he has begun to activate those con¬
cerns even more fully by assuming the position of
Secretary/Treasurer of AFM Local 47. It is the
first time both those offices have been combined
into one major responsibility, but if anyone can
handle it, Earl can. His duties include disburse¬
ments to members as well as monies involving the
Union. He is in charge of the bookkeeping and ed¬
its Overture, the Union’s newspaper. He is in
charge of all correspondence, is a member of the
board of directors and keeper of the minutes. With
this commitment comes a sacrifice, for he is no
longer allowed to receive money for playing, as
that would be a conflict of interests. His dedication
to the office, however, is prompted by his need to
help. "I felt as a player, I was someone who keeps
aware and concerned about the plight of the work¬
ing musician. I feel they needed someone who they
felt had ideas consistent with their own. I hope to
get musicians interested in the Union and to partic¬
ipate in itsfunctions, which in turn will strengthen
the Union as a bargaining agent and protective as¬
sociation for those musicians.
If that isn ’t enough, Earl is a grandfather five
times over, with six children from two previous
marriages and a baby daughter, the apple of his
eye, Penny, age four, with his current beautiful
Japanese wife Yumiko. "Of course I started hav¬
ing kids when I was 10, " hejokes, and you almost
believe him since he looks at least lOyearsyounger
than his 58 years. Recently, however, he has ac¬
complished the most awesome task of learning to
relax, which perhaps accounts for his youth. Or,
perhaps it is that he has spent his life doing what he
loves most. Maybe it’s a combination of both.
Warm, open, opinionated, sincere, with a sense
of humor and an abundance of energy, to say that
it is a pleasure speaking with Earl Palmer is an un¬
derstatement.
RF: You started off in vaudeville. How did that
come about?
EP: My mother and aunt were in vaudeville and
from the time I was four years old, I travelled
around with them.
RF: When did drums enter into the picture?
EP: I always played drums somewhat, even as a
kid at Craig Elementary School in New Orleans. I
was in a school
band they had
there and that was
my first formal
playing. But I had
always hopped up
on the drums dur¬
ing the vaudeville
era like any kid
would do. My
grandfather
bought me my first
set at about six.
C RF: Did you take
| lessons?
^EP: Yeah, in
^school, with the
^school band and
fteachers. It was
£just enough to play
little marches. My formal training didn't come un¬
til I took some lessons from a guy named Bill Phil¬
lips, who was a very good Dixieland drummer in
New Orleans. That was when I was about 10 or 11.
On and off, I was always travelling with my mother
until I was 17 and went into the service. There were
times we were on what was called a good vaudeville
circuit in those days and I had a tutor. When we
were on the cheaper circuits, my mother would
send me back to New Orleans or out here to Cali¬
fornia to my uncle. In fact, most of my formal
schooling was in California, although technically,
I lived in New Orleans until '57.
RF: You told Scott Fish that no matter what you
played, you brought a little New Orleans to it.
What does that mean exactly?
EP: There's a little bit different approach to the
feel of the music and the rhythm, particularly for
rhythm players, in New Orleans. There's always
something somewhere in their playing that has that
old New Orleans parade meter feeling. You could
always tell a New Orleans drummer the minute he
sat down to play. First thing you could tell is how
he played his bass drum. He was influenced by the
parade drummer. The parade drummers were
MAY 1983
9
mmm
MAY 1QB3
pretty much the beat and pulse and influence of the
parade bands because they set the pace. For exam¬
ple, going to a funeral, they would play the dirges
and they would set it off with three or four beats on
the bass drum. On the way back, after what we
used to call "the planting," the band would set the
meter for the second line. The people would form a
"second line" behind the band and dance back to
town or wherever they went.
RF: Is that where you got your unique bass drum
technique?
EP: I never really concentrated on it. The main
reason I was used when I moved out here, was that
I had that feel. It was natural.
RF: So you weren't really aware that your bass
drum technique was somewhat different?
EP: No, I was aware it was different, but it wasn't a
unique thing to those of us who were doing it. I
know other guys like Vernell Fournier and Ed
Blackwell who were doing it, but I always said
there were drummers in New Orleans who were do¬
ing the same thing to varying degrees.
RF:I know it's a difficult question, but is there any
way you can attempt to pinpoint what that is ex¬
actly?
EP: That's a very difficult question. I've never
been able to pinpoint it exactly other than to say
that to be from New Orleans, you just have it. And
many of the younger drummers I've heard from
New Orleans still have it; integrating it with the
new teachings that they've learned. For example,
getting away from the drums for a minute, a young trumpet player
named Wynton Marsalis is said to sound like Miles Davis despite
his own unique style. But I still hear a lot of old New Orleans
trumpet players in him, and he will tell you that himself. He was
largely influenced by New Orleans trumpet players.
RF: Who were some of your influences?
EP: First of all, Bob Barbarin who was my first teacher in music
school when I first started studying formally. He is the brother of a
very famous old Dixieland drummer who played with Louis Arm¬
strong years ago, Paul Barbarin. But Bob was, in my estimation, a
better musician, although he isn't as well known. Another influ¬
ence was Sid Catlett, who in my estimation was underrated because
nobody gave him credit for what I consider his greatest aspect: he
was an all-around drummer. You could hear him on all kinds of
records. He was on bebop records, and at the same time he was
playing the Dixieland and the Chicago swing of that era. He was an
all-around drummer and this is what I admired about him. When I
met him in New Orleans a few years ago and asked him what young
drummers should do, he said to keep the time, that's the most
important thing your instrument is made for. How well you play
everything else doesn't mean anything if it's not in time. Conse¬
quently, I found that to be very true, and any time I have the occa¬
sion to do any kind of clinic or seminar, that is the first thing I stress
to the young drummers. If you are not playing that instrument in
time, you are not playing that instrument.
I've also had some influences from guys like Chick Webb, and
many other drummers that your readers may not know about. As
far as the ones they do know about, there was Louie Bellson, who
was a later influence. He is an all-time great drummer and one of
the all-time great people. I don't know anyone who doesn't like
Louie Bellson. In 1976, I was in Tehran with Benny Carter on a
State Department tour. Some kids came up to my room and
they had drum sticks and a couple of old tattered books.
They had no drums, but they were from the university there.
I wanted to see how well they could play, so I had them play
on a pillow. You wouldn't believe the technique they had
from constant practice with no drums. Now, I didn't have
the same influence with drum companies as Louie had, so I
told them I would speak to a friend of mine to see if I could
get them some drums, which I did when I came back. Louie
was about to leave town, and when he got
back, he was ready to leave again. When I
didn't hear from him, I thought he was too
busy and I didn't want to bug him about it.
Three or four months later I got a letter from
the kids thanking me for the drums. Louie
didn't even tell me that he had sent them.
That's the kind of guy he is.
Buddy Rich is also a great influence. Per¬
formance wise, you put Buddy way over here
and then you start evaluating other drum¬
mers. With all of the bad press that Buddy has
gotten about his attitude, he is a very sweet
man to people he knows and respects. He's
not vindictive, he's just straight forward. One time he was
playing at Dantes and he took me to his trailer next to the
dressing room and showed me this scar he has on his back
from an operation he had on his spine. I said, "Buddy, my
God, how do you do it? How do you sit at those drums?" He
said, "I just forget about it, man. If I'm going to drop dead,
I'll drop dead there." What a great man!
Another guy who was an idol of mine in music school before
I moved out here is Shelly Manne. It's been so good to meet
him and get to know him and find out he is as sweet as he
appeared to be. One of my children is named after him. This
is where my influences come from, guys like them. Of
course, in the bebop era, we all liked Max [Roach] and [Art]
Blakey. Blakey is a phenomenal man. He is as strong as an
ox. He's older than I am. I'm 58 and Art is stronger than
three or four of us put together. It's stamina. In fact, I got
out of the service December 10,1945 and the following week
I went to a concert where Billy Eckstine's band was playing
and the local band that played before
them was Dooky Chase. Vernell Four¬
nier was playing drums in Dooky's band
and Blakey was with Billy Eckstine's
band. I heard both those drummers that
night and said, "That's it. I'm going to
play drums."
RF: Did you know how to read music at
thispoint?
EP: No. When I got out of the service, I
went back to playing. Then Red Tyler, a
very good friend of mine, convinced me
to go to school on the G.I. Bill. I said,
"Why do I need to go to music school?
I'm already playing drums. I've got one
of the best jobs in the Quarter." And he
said, "Do you read?" "No." "Well,
then you don't know what you're do¬
ing." And I said, "Hey, you're right." I
majored in piano so I could take all the
accompanying courses for piano and I
minored in drums since I was already
playing drums. To minor in drums would
give me what I needed as far as the read¬
ing. We didn't have anyone on the fac¬
ulty to teach percussion, unfortunately,
so I never learned to play percussion in¬
struments, but on my own and with the
help of guys in the studio here, I learned
MAY 1983
some. I was called a lot of times on the date because there
would be a few contemporary things in the picture and
rather than hire another guy, they said, "Well, he can play
those few things." I didn't even know the name of half of
those instruments, but everyone was very patient.
RF: You mentioned that you had the best gig in New Or¬
leans.
EP: At that time, the best gigs there were on Bourbon Street
because they paid the best money and you made more tips. I
was playing at the most popular club
at the time which was the Opera
House Bar.
RF: Was that your first professional
drum gig?
EP: No. I played a couple around
New Orleans before I got that job, but
only briefly. After Harold, I joined
Dave Bartholomew's band. He had
asked me a long time before that to
j oin his band, but the guy who was the
drummer in that band was a guy
named Dave who was like an uncle to
me. So I said, "No, I won't take my
'Uncle Dave's'job, man." Finally Dave Bartholomew and
Dave had a falling out and I joined.
RF: Were the recordings with Dave Bartholomew the first
recordings you worked on?
EP: Yes, the very first. My first session with Dave, he said,
"Man, you'd better get some new cymbals because those
you have are kind of old." So I went to a music shop to get
new cymbals and didn't know the difference between a Zild-
jian and anything else. I bought the newest, shiniest cymbals
there were. I don't even remember what brand they were,
but they were the worst sounding things you've ever heard.
Dave said, "Get those old cymbals back up there." That was
my first record date. I can't recall who it was for. Then, of
course, came the Fats Domino days.
RF: How did that come about?
EP: We used to play a place in New Orleans called Al's Star¬
light Inn on London Avenue and there was another place we
played called Club Desire on Desire Street, which, by the
way, is the same street the play Streetcar
Named Desire was taken from. There
used to be a streetcar on Desire Street. So
we'd go down and play these clubs and
Fats would come in. He played boogie-
woogie piano around there all the time.
When Dave would get off the stand to go
around and fraternize with the people,
hustling more work for the band and so
forth, he would have me take charge of
the band. Sometimes the people in the
audience would leave when the band
would take an intermission. So when I
was running the band, I'd let Fats play
during the intermission so we could keep
the people in the place.
Then there was a club called the Chry-
stal Club and we'd congregate in there af¬
ter Sunday evening football games. After
a while, everybody would leave to go
home and the owner said, "I've got to get
some entertainment to keep the people in
here," so I recommended Fats to play
there on Sunday evenings. From that,
Fats got some terrific musicians, includ¬
ing Cornelius Robinson, whose nick¬
name was "Toonoo." He was a tremen¬
dous drummer, a left-handed guy, and
we used to kid him all the time about
11
"YOU CAN PLAY IN GREAT
TIME, YOU CAN READ YOUR
TAIL OFF, BUT IF YOU’RE
PLAYING TOO LOUD, THEN
IT’S THE WORST SOUNDING
INSTRUMENT IN THE BAND/
PftOto By RtCft Mjthir
playing with "the wrong hand."
RF: When did you start playing with Fats?
EP: Well, I never played with him live, only on his records. Fats
was on the tour we went out on with Dave's band, but it wasn't
Fats' band. It was Fats Domino, Da\e Bartholomew and Profes¬
sor Longhair, but it was Dave's band.
RF: Why did he use you on records then?
EP: Because Dave's band was the nucleus of the recording musi¬
cians in New Orleans and we were doing all the recording.
RF: Why do so many of the Fats Domino credits say that Cornelius
Coleman played the drums?
EP: That's perhaps because he was in Fats' band when they were
travelling. After the records we did in New Orleans, I don't know
of any records that Fats did except for one out here that I played
on.
RF: As far as recording tech¬
niques, on some of the very
early recordings of 1949 you
can hardly hear the drums.
EP: Well, the majority of Fats'
records were done in a little
one-room studio. Most of the
time there were only three mi¬
crophones involved. The engi¬
neer did a tremendous job get¬
ting sound out of that little room with three microphones; guys
doubling up on mic's and not getting leakage of the drums. That's
why it's so amazing now that the newer engineers need so much
help. I think it may be a mixture of knowing how to direct the
sound of the instruments and what microphones to use that would
eliminate the need, or most of the need, for baffles and so forth.
Then also, music has changed to the extent that people are playing
louder, particularly the rock groups, and it's highly probable that
you would need more separation in that case. But it's run over into
where you're even doing the nice soft sessions and you find your¬
self leaking into the strings' mic' and you're hardly touching the
drums. Something is wrong. It's got to be something wrong with
the mic's or they're the wrong kind of mic', but I can't say I know
their job.
RF:Have you felt that people today are more interested in technol-
"IFI EVER HAD A FORTE IN THIS
BUSINESS, IT'S BEEN
TO BE ABLE TO
PLAY ALL KINDS OF MUSIC."
ogy as opposed to the feel of
the player?
EP: Very much so, which
has always been a pet peeve
of mine. I've never yet heard
of a record that made the
charts because it had great
separation! It's always mu¬
sic or the lyric, one or the
other. Nowadays, there's a
tendency where the music
has to subjugate itself to the
technical aspect of the re¬
cording, where it didn't used
to be that way. They used to
want to capture the sound
they originally heard that
made them want to record
that particular material.
Now, you go in the studio
and you have to try to repro¬
duce that same sound, but
within the limits of the tech¬
nical capabilities of the stu¬
dio or the engineering or the
equipment or whatever, and
in many ways, this is unfair.
Of course, it's another part
of the industry now that you
have to adjust to, but to me,
it's always been a very unfair situation. They're
saying that musicians are going to be able to mail
their parts into the studio after a while, or sit at
home and play the part over a telephone or some
kind of electronic hook-up that will plug you right
into the studio, because you don't see the people
you're playing with anymore. You seldom do a
date anymore where everybody is in the studio at
once. You're doing sections. Where drummers
used to punctuate everything the brass section did,
now the drummer just plays straight-ahead
rhythm. The brass is playing all of these beautiful,
good-sounding riffs, but the drummer is not play¬
ing any of them with them. That came about be¬
cause arrangers have to go in
with the rhythm section and lay
a rhythm track, and how can
the drummer punctuate what
the horn is going to play when
the arranger hasn't written it
yet? The best the drummer can
do then is lay down a good
strong beat and hope they
dance. But drummers can't
play any of the music anymore.
That takes away from your creative ability. You
can't play with the rest of the band; all you can do
is lay down the click track for them, in a sense.
RF: When they changed, technically, as far as
more mic's, etc., did you find that you had to ad¬
just your style somewhat to be perhaps less loud
and more defined?
EP: Whenever you don't have total freedom of the
approach to your instrument because you have to
conform to the job, it's hampering your creative
ability. "I won't try this because it's going to be
too loud." It might be something that ordinarily
you might want to do that would help, but it's,
"this won't match," so it hampers your creative
ability because it hampers your thinking. When
MAY 1983
MAY 1983
they added more mic's is when it
changed, in my estimation. A situ¬
ation has to be somewhat unique
where, let's say, the drummer can
get away from the continuous thud
in the bass drum figure and be a lit¬
tle more creative. On most of the
records you hear now, the drum¬
mer starts, and when the record is
over, he's still playing the same
thing.
RF: When did you get involved
with Little Richard?
EP: During the time we were doing
the recordings in New Orleans.
Little Richard, Sam Cooke, Etta
James and artists like that were
brought to New Orleans to record
with Dave's band, much like groups
later started going to Muscle Shoals and
Nashville. Little Richard was brought by Spe¬
cialty Records. As a matter of fact, I was on
about 95% of Little Richard's things. We did a
whole bunch of those same things over again on an al¬
bum a few years back. I did all of Lou Rawls' records
until he went back east to Philadelphia. I was doing all
the contracting at Capitol for Dave Axlerod who had
Lou Rawls and, at one time, Linda Ronstadt. In fact, I
did her first record at Capitol because Dave Axlerod was
the A&R man and I was the contractor.
RF: Were you given total artistic and creative reign?
EP: Pretty much. In those days, Hal Blaine and I were
given pretty much a free reign. We were told to stay
within the arrangement, but only as a guide to tell us
when to start and stop. We played what felt best and what
we thought would fit.
RF: Has that changed?
EP: Yes, it's changed quite a bit for the simple reason
that there is such a sameness in music now. I think it's
totally turned around. You don't have the total creative
ability, although there are some exceptions, like drum¬
mers who are in demand now because they are terribly
good players. They have a little more creative ability and
a little more creative freedom, like Steve Gadd. An in-
demand player will always have more creative freedom.
Harvey Mason is another person, but they don't get that
much of a chance to be creative because the idea is so
rigid. To get creative, you have to get completely away
from the concept. For example, Steve Gadd did some
very beautiful things on Paul Simon's "50 Ways to Leave
Your Lover." I don't know if that was totally Steve's
idea, but it sounds like something he would do because he
is very creative.
RF: How did your association with Professor Longhair
begin?
EP: My first meeting with Professor Longhair was at a
place called the Caldonia Inn that was torn down and
replaced by the Louis Armstrong Park. It was not your
nicest place, but the Professor used to hang around there
all the time and just play the piano for the fun of it. When
Fats Domino went on his first tour after having his first
hit record, "Detroit City" on one side and "Fat Man
Blues" on the other, there was this girl in New Orleans
named Jewel King who had a bigger record out than Fats,
called "Three Times Seven." She refused to go on the
tour because her husband's band wasn't going. That was
a mistake because you haven't heard from her since. In
place of Jewel King on that tour was Professor Longhair.
The tour was a flop, but anyhow, the Professor was a hit
everywhere we went. He was a bigger hit than Fats. The Professor
had just had a record out which we did, "Stagger Lee." We went to
Kansas City, Las Vegas and Los Angeles, but that's all I remember
because they were the highlights of the tour, since it did so badly.
RF: So you enjoyed live playing as well during those years?
EP: Oh yeah, very much. Live playing is the one thing you seldom
get on a recording because recording is a stop and go situation.
There is no feeling to match playing live with a good band when
everything is right. It's called magic. There is one other feeling like
that, when you totally create something, either a song or an ar¬
rangement you write, and you hear a band play it back. That hap¬
pened to me the first time in music school. We had to write an
arrangement and the ensemble class would play it back. To hear
something that you totally created come back is incredible, and it
always sounds better. It's the greatest feeling, and that is the feel¬
ing of total creation right there.
RF: Have you done any live playing in recent years?
EP: In recent years there were some concerts with Lalo Schifrin.
We went to Israel last year with the Israeli Philharmonic. There's a
segment in his program also, where he plays some jazz, which is his
early roots. There were some great moments there. We also did
some concerts as a trio, and what I liked about that was that it gave
me a full range of playing with the symphony and then down to a
trio. When you get a good feel out of both of those aspects, it's
quite gratifying. Record wise, you don't get much chance to do
that because they don't last long enough. The record has got to be
two or three minutes and then it's over, and you still have to be
concerned with the fact that you are recording. With the digital
recording, you're concentrating on not making mistakes. Nobody
wants to be the one to make the mistake so you've got to do it all
over again. It's not like the other records where you can stop and
start again and splice in from there. With the digital, it's going
right on the disc while you're playing it.
RF: Coming from your background, when you started playing
with people like Fats Domino and Little Richard, what was your
feeling about playing that kind of music?
EP: It was very exciting. If I ever had a forte in this business, it's
been to be able to play all kinds of music, so that was a new thing
for me. At that time, when we started doing this, I wasn't playing
rock 'n' roll and rhythm & blues, I was playing jazz in a club with
Earl Williams or with Dave's band. We weren't playing bebop,
although we played some bebop arrangements with Dave for the
sake of variety, but we played contemporary ballads, Billy Eck-
stine tunes—the popular things of the day. So to do these rock
things was a refreshing change. arntmued m34
ENJOYING
ALL
CHALLENGES
by Dave Levine
W e had done a series of sessions. Most of it was adding
drums to 'Wendall,' the drum machine, tracks. For
some reason Frank wanted to add live drums to the stuff
he had already recorded for the new album. A lot of it had been
done before I even joined the band. Anyway, for about a week I
did a bunch of that. One night, at about 3:30 in the morning, I had
just about run out of things to do. There was some tape left so
Frank told me to go back into the studio and play some rock time.
He put on his guitar and started playing a guitar progression. I
kind of knew what he wanted so I came up with a regular rock beat
on the hi-hat for the first section and a floor tom ride for the sec¬
ond. We liked the second take and that was the end of it.
"None of us had any idea he was going to use it. It wasn't even a
song. Later he decided to write a tune and let his daughter, Moon,
do her thing on it. It turned out to be 'Valley Girls.' We played it
that night in his studio and we never played it again."
The Frank Zappa-"Valley Girls" story is in many ways typical
of the success that has followed Chad Wackerman. He always
seems to be in the right place at the right time with the right stuff.
The fact that he's just 22 and has already had a lifetime of experi¬
ence playing with people like Bill Watrous, Leslie Uggams, Alan
Holdsworth and Frank Zappa would tend to prove that out.
Chad took time out from his busy schedule to be interviewed in
his comfortable apartment in Sherman Oaks, The Valley, Califor¬
nia. He was dressed in an outfit that included a faded pair of pants,
a sleeveless T-shirt and his Nikes. His hair had recently been
trimmed but signs of the blonde streaks he added for the last Zappa
tour were still visible. The Zappa influence and the rock 'n' roll
image were there alright.
But if a young drummer were to have a role model, Chad would
be a good one. He is polite, quiet; almost shy. Yet when he sits
down behind a set of drums he can take care of business as aggres¬
sively as any drummer you'd care to name.
"A guy's got to be able to play," Chad said. "But a lot of music
is getting along with people. On some gigs you play one show a
night and the other 23 1/2 hours a day you're just hangin' with the
people you're with. If you can't get along with them, forget it!
"That's just the way I am. That's how I was raised. My dad's
like that. He gets along with everybody. That was a trait of his that
I wanted to acquire. I try to respect everybody and every kind of
music."
Respect is one commodity that's always been hard to give and
even harder to get. It's the first thing that impresses people who
meet Chad and it's definitely been an asset that has helped his ca¬
reer. As he mentioned, Chad's easy-to-get-along-with personality
came from the way he was brought up. Everyone's family back¬
ground is important. In Chad's case it was "instrumental."
To say that Chad comes from a musical family would be an
understatement. His brothers, Bob (19) and John (17), play the
bass and vibes and drums. Both of them are already following their
older brother's footsteps rather closely by working with jazz trom¬
bonist Bill Watrous' big band. Even little brother Brooks (six) is a
minor threat on the drums. Chad's father, Chuck, is the band di¬
rector at McGaugh Junior High School just up the street from the
Wackerman house in Seal Beach, California. Besides teaching the
kids at school and at home, Chad's father and mother, Barbara,
spent their weekends and summer vacations taking the boys to jazz
festivals, band competitions and drum clinics.
"My father was a drummer and there were drums around the
house. I think it's only natural for a kid to want to hit things,"
Chad, who started playing at age six, related. "They were there
and I was interested. Dad taught me at first and I was a terrible
student. I wouldn't practice and I'd play whatever I wanted to
play. He finally ended up taking me someplace else.
"Dad and I had a couple of lessons with Forrest Clark; he was
'our' first teacher. When he took me to Forrest it wasn't just Dad
showing me stuff anymore. This was a big deal. I mean, we were
driving to this guy's studio and he was expecting me to work on this
stuff. From then on I got a lot more serious.
"Then Dad started taking from Allen Goodman. So I started
taking from him, too. I really liked Allen. We went through Stick
Control and we did some jazz things, too. Then I took from Pete
Magadini over at the drum shop [Professional Drum Shop in Hol¬
lywood]. Pete got the gig with Diana Ross, so he left and Chuck
Flores took over. I studied with Chuck for four or five years. At the
same time I was studying with Murray Spivak. With Chuck I was
working on independence and drumset while Murray was helping
me with reading and snare drum technique."
When Chad was 11 he attended his first Stan Kenton Jazz Clinic.
He was too young to actually participate, but Kenton's drummer,
John Von Ohlen, sat him behind the set so he could follow what
was going on. From 1971 until Kenton's death in 1979, Chad was a
Kenton Clinic regular. He worked his way up from the bottom
band to the top ones during that time.
To develop his ear and his musicianship, Chad's parents insisted
that he also play a melodic instrument. In school orchestras,
through high school, Chad played violin and viola. He always
viewed the drums as his primary instrument, though, which was
good because drums and music were just about the only things he
was interested in.
"I wasn't into sports and there weren't any video games. I was
just into music; into hanging out," he confessed. "It'd be bad to
recommend that to others. Definitely it's better to be well-
rounded. But, if you take something seriously, whatever it is, you
should pursue it."
With the support and encouragement of his family, Chad pur¬
sued his interest in the drums. He never questioned the importance
of practicing or the importance of taking drum lessons as being
necessary to improve.
"Taking drum lessons helped me a lot. I think I got a lot further
a lot faster and I didn't hang myself up later on with bad habits. A
lot of kids today are serious about playing but not about learning.
I've seen guys that are self-taught who are amazing but they're an
exception. It's not realistic for everyone to think that they can
make it without studying. There are an awful lot of drummers out
there," Chad said.
Following his graduation from high school, Chad entered Cal
State University at Long Beach. When he started at CSULB, Gor¬
don Peake (now with Stanley Clarke) and John Ferraro (with
Larry Carlton and Barry Manilow) occupied the drum chairs in the
first and second jazz bands. Like most colleges, there were enough
good rhythm section players for three bands but only enough
horns for one. After a frustrating year and a half, Chad's colle¬
giate career came to an end.
MAY ] 933
15
"John was smart; he was going for a business degree. Gordon
actually bought a marimba and practiced on it. I knew it wasn't for
me. I was interested in furthering my drumset ability. I wanted to
play drumset," emphasized Chad. "I didn't know what to expect
from college. When I got a call for a gig, I took it."
Luckily, when John Ferraro got the job with Larry Carlton he
called Chad to take over his gig playing with a top-40 band at Dis¬
neyland. The other members of that rhythm section included pian¬
ist Jim Cox and bass player Tom Child. Joining that band was a
good decision that turned out to be an important career move.
That rhythm section ended up doing a lot more than the rising
stage on the Tomorrowland Terrace. It was Jim Cox that told
Chad about the audition for the Bill Watrous Big Band.
Chad's experience with high school jazz bands and at the Kenton
Clinics helped him get the job with Watrous. His solid playing and
open attitude helped him keep it. Watrous' band played everything
from up-tempo burners to jazz ballads; from hot salsa to laid back
rock 'n' roll. The rhythm section again included Cox and Child,
and later became the Bill Watrous Quartet, recording three albums
on the Famous Door label.
"I had gotten my rock playing together at Disneyland. That
rhythm section was groove conscious," Chad explained. "Bill's
big band helped my jazz rhythm-section playing and his small
group was even better for playing behind a soloist."
While implying that playing music is a continuing learning proc¬
ess, Chad was also acknowledging that at the time when most mu¬
sicians are going through college, he was fortunate enough to be
earning while he was learning. His next professor was Leslie Ug-
gams.
"After the gig ended at Disneyland, Jim [Cox] became Leslie's
musical director. He called Tom Child and me to do the gig. It was
the same rhythm section as the Disneyland and Watrous bands.
We all enjoyed each other and we were getting real tight. When
there was a chance to groove I'd just look over at Tom and we
knew there was groove potential. It was fun and it was financially
good. I still work with Leslie whenever I can.
"One of the things about that rhythm section was that it could
play so many styles. You always play for the music regardless of
who the people in the rhythm section are. But at the same time, that
rhythm section was so used to working together that things seemed
to come naturally."
So, without four years of college to prepare him, Chad was get¬
ting a practical education. Then he entered his version of graduate
school. A bass player friend told him that Frank Zappa was look¬
ing for a new drummer. Chad, at first, wasn't going to audition,
but his friends convinced him that he had nothing to lose. Chad
related his Zappa audition story: "I called Frank up and the first
thing he asked me was if I could read; like it would do any good. I
told him I was a pretty good reader—that I could read 'normal'
music—but I knew his music was complex. Again he asked me if I
Photo by Paul Jonason
THE PRIMARY
THING IS TO
PLAY FOR THE
MUSIC . . .
YOUR
CREATIVITY
DEPENDS ON
THE GIG.
SOMETIMES
YOU HAVE TO
RESTRICT
YOURSELF . . .
PART OF
YOUR ROLE IS
TO USE YOUR
DISCRETION.”
was a good reader. I said I was okay but that I'd like to try out
anyway.
"I went over to his house and he put up the music. It was stuff
like I had never seen before. I told him, 'I've never seen anything
like this.' There I was trying to sight read this music while the rest
of the band was playing it perfectly. It was pretty obvious when I
made a mistake.
"Certain things I knew. There were some triplets and quintu¬
plets and things like that. I got up to a 3/4 measure that had eleven
8th notes all around the drums in it. Above it was written 11:3. I
said, 'I don't know what this is.' Frank explained it to me. I was
surprised but he asked me to stick around. Then he gave me some
music to practice and told me to come back the next day.
"The next day we went through every style possible: Okay, play
abossa, okay, now play swing, okay, now play ska. . .everything.
Then he asked me back a third time. He wanted me to wait around
until he heard one other player. Then he told me I got the gig."
Of course, getting the job was only part of the battle. With the
first tour just two months away, Chad found himself in the posi¬
tion of having to learn and memorize 80 Zappa compositions.
They weren't all as hard as the "Black Page," but why would
someone want to put himself in that position?
"Whether you like listening to it [Zappa] or not, it is a challenge
and it is fun to play," Chad answered. "I think I've improved a
lot. After hearing those albums with Vinnie [Colaiuta] and Terry
[Bozzio] it was kind of scary to jump into that. But, where else can
you get experience playing that kind of stuff? How do you learn
things like that? I wanted to do it."
Following two extensive tours with Zappa's band, one in the US
and one to Europe, Chad found himself back in LA with a lot of
time on his hands. Zappa had decided to work on some other pro¬
jects and take at least a year off from touring. Chad wasn't out of a
job but he was out of work. He did a few casuals and some demos.
He needed something to do. He heard that British guitarist Alan
Holdsworth was auditioning drummers for his new band that also
featured Jeff Berlin on bass.
"That audition was really different," said Chad. "We just
played duos with guitar and drums. Alan just started playing and I
tried to play something that I thought would fit. It was real out."
The Holdsworth band, I.O.U., is a kind of jazz-rock-fusion-
power trio. There are songs, but the music is very free form, vir-
tuosic and spontaneous. Chad doesn't play time in the conven¬
tional sense. He uses a Keith Moon/Billy Cobham-like approach
ie
MAY 1983
that is bombastic yet deadly accurate and musically fitting. It's like
he's playing a constant solo, with bass accompaniment, behind a
screaming guitar.
Now that we were more or less up to date, the conversation
turned to the musical differences between the diverse types of work
Chad has done. Pop, bop and rock, after all, are not exactly what
you would call "one-bag." There must be some reasons why Chad
feels at home in almost any situation.
"All of those gigs are related," he explained. "But they are all
different, too. I'm not going to play in Bill's small jazz group like I
do in Alan Holdsworth's band. I suppose it's unusual for a young
drummer to be interested in so many kinds of music. I mean, if
somebody told me that Bill Watrous' drummer was playing with
Alan Holdsworth, I'd say, 'Huh?' If they told me that he was en¬
joying it I'd be even more surprised.
"I enjoy playing so many things. I'm better at some things than
others but I enjoy them all and I'm always trying to improve on the
things I'm weak at. If I were going to put a band together it would
have to have players who could play everything. One of the reasons
that I really enjoy Frank Zappa's band is that it never gets boring.
We learn 90 tunes before a tour and we mix them up every night.
Frank also has visual cues. If he lifts the hair on one side of his head
that means go into reggae. If he lifts both sides we go into ska. He
does this at any time on any tune. That makes it fun."
It's one thing to enjoy different kinds of music but how does a
young player become proficient and knowledgable about such a
wide range of musical styles? Part of it goes back to being raised in
a musically open environment.
"Dad was real open. I was fortunate that he was so open
minded. As I was growing up, I never saw things as being different.
I viewed it all as part of the same thing. Dad was the one that
turned me on to Cream.
"I was aware of different styles early in my development. I had
heard Mitch Mitchell with Hendrix and I had heard Chuck Flores
with a small jazz combo so I knew there was a difference. I would
practice playing different ways.
"When I grew up I liked a lot of music. I'm not just a rock 'n'
roll kind of guy or a jazz kind of guy. I'll listen to Miles Davis and
then Ronnie Montrose on the next record."
More than just being open to lots of music, Chad also was aware
of how the drums were different for each type of music. At the age
of 11 or 12, when most kids are worried about paradiddles, Chad
was already developing a concept of style and sound.
MAY 1983
"I was definitely worried about my paradiddles, too," he
laughed. "But I was aware of sounds. I found out who John
Guerin and Hal Blaine were. I could tell the difference but I didn't
know how Hal Blaine got the sound he got until I saw him do a
clinic. Then I said, 'Okay, that's what it is; single-headed drums.'
Then I found out who Elvin Jones and Tony Williams and those
guys were and I started buying the records they were on."
Regardless of the style, however, Chad doesn't feel that the
drummer's role changes too much. He's responsible for the stabil¬
ity of the time in any band. The style merely places creative limits
on what is appropriate to play. Chad found it difficult to explain
how styles of drumming are established and it was even harder for
him to define the role of the contemporary drummer.
"Who sets the style?" he asked. "Like, why 'spang-spang-
alang'; why that? Because it sure caught on. We take that as jazz
now. That's a style."
When asked about the role of the drummer, he said: "It's hard
to put into words. You should have good time, that goes without
saying. If you don't, you're not doing your job and you probably
won't have too many friends. We're all keeping time but the drum¬
mer has more control over it than anyone else in the band. People
have to go his way.
"The primary thing is to play for the music. When somebody
hires me for a specific kind of thing I'll definitely put a limit on my
playing. I'll try to do something that fits in with what the rest of the
band's doing. Your playing has to fit. Your creativity depends on
the gig. Sometimes you have to restrict yourself. Sometimes there
aren't any stylistic limits; it's just what your taste is. Part of your
role is to use your discretion."
In addition to satisfying the stylistic requirements of the music,
one of Chad's goals is to develop his own personal style. Lots of
times a drummer's style fits so well with the band he's playing with
that the player and the group become synonymous. What would
the Who have been without Keith Moon, or The Police without
Stewart Copeland, or Buddy Rich's band without Buddy Rich?
Chad's style is to fit in with whatever band he's working with. How
can he do that and still be recognized as an individual?
continued on page 52
TERRI
LYNE
CARRI
by Scott K. Fish
18
MAY 1983
r e idea of the "child star” conjures up a dual image. On
the one hand you have to admire the talent it took to
become a star. On the other hand you tend to believe
that the kid must have had "all the breaks" and led a real pam¬
pered and catered-to existence. At 17, Terri Lyne Carrington
has been playing drums for 10 years with the likes of Clark
Terry, Rahsaan Roland Kirk, Illinois Jacquet, Kenny Barron,
Buster Williams, Oscar Peterson and more. When you ’re on¬
stage with those musicians, you don ’tjust "get by." You either
play or you get blown off the stage!
Terri Lyne came into the MD office several months ago to be
interviewed. She seemed cautious and I was wondering what in
the world I was going to ask her. So wejust let the tape roll and
sipped hot coffee. We both relaxed into a very revealing, candid
and educational interview. Terri Lyne is not kidding around.
She knows where she’s going and she’sself-assured about get¬
ting there. I’m sure she will.
SF: What did you do to put yourself so far ahead of most 17-
year-old drummers?
TLC: I started at an early age, lucky enough to have parents
who were very supportive. I listened. At five years old I was
hearing music constantly. I heard it since I was born and took a
liking to it. My father played me the kind of music that I would
understand. I first started off with James Brown, Ben Branch,
Jimmy McGriff, Jimmy Smith, B.B. King, and that kind of
music. I liked it as a child. That's the first music where I played
to the records. It just kept developing on from there.
SF: Were the kids you hung out with musicians?
TLC: Not too many of my friends are interested in jazz music
like that. It's a separate life for me. As far as the business goes,
I'm always around older musicians and I've adapted to that.
When I'm with my friends, it's different.
SF: When I was 17, the people I was in bands with were all my
age. The people you’re playing with are in their 30's, 40's .. .
TLC: And older. Old enough to be my father, and grandfather
in some cases! But, I didn't really even have a high school band
that I could play with. I went through high school and half the
people didn't
even know I
played. They had
a marching band
that wasn't very
good. I didn't
even want to bother with that. I was at a different level. I really
didn't want to go backwards. I just went up to Berklee College
of Music once a week.
SF: Why did you choose drums?
TLC: Some people say that it was because my grandfather
played the drums. His name was Mat Carrington. He played
with people like Chu Berry, Fats Waller, Duke Ellington occa¬
sionally, and "Baby" Dodds. My father also played drums a
little bit. He plays tenor saxophone. So, I started out on alto
when I was five and then I lost my two front teeth. So, I couldn't
play alto anymore. My grandfather's drums were in our base¬
ment. I asked my father to set them up one day after I lost my
teeth. I just started hitting on them and never stopped. I guess
he thought it was a drag to bother setting the drums up because
of the noise. He didn't really expect anything. As a matter of
fact, when I was born, he wanted a son to continue in music. So,
when I was a girl, I guess he figured ...
SF: Oh no!
TLC:Yeah. When I started playing saxophone, I had an ear for
music. I started playing riffs and I would bend the notes to be in
tune. When I switched to drums, I could keep time immediately
after I picked up the sticks.
SF: Playing along with records?
TLC: Yeah. My father showed me how to hold the sticks and
the basics when I was seven. Then I went on to a beginner's
teacher, John Willen. Then to Keith Copeland, who is probably
one of my biggest influences. He had the patience to deal with a
NGTON
youngster. I was about 10 or 11.
SF: Were you into drum lessons at that time or was it a drag?
TLC:I enjoyed it. But to develop somebody at such a young age
takes patience. Keith really developed me. Then I studied with
Tony Tedesco who brought my reading together. The technical
aspect of drums. The polishing of it all was Alan Dawson, who
was my last teacher. I started studying vibes with him a couple
of months ago. Now I'm going to attend Berklee, to see what
they have to offer. Alan Dawson is one of the greatest teachers
and drummers in the world. He's a monster. I would highly
suggest to anybody who wants to clean themselves up and get all
their frustrations out, that Alan will get all their frustrations
out. He'll give you all the mechanics to work with. If you have
the talent it'll be able to come out more. He's really a great
teacher and person.
SF: How long did you study drums with Alan?
TLC:Two or two-and-a-half years.
SF: How had you changed after that time?
TLC:I was thinking much more musically in my soloing. He's a
stickler on the form in tunes and knowing the music. Not just
playing the drums, but knowing everything that's going down
on the stage. That really helped me out. I played in form but not
as musical, so you can hear the song through the drum solo.
Also, he developed my chops more. He made them cleaner and
more relaxed. He's a "polisher" teacher. I wouldn't suggest
people go to him who aren't already on a certain level, where
they can take what he's going to give you and do what they want
with it. I wouldn't say he's a beginner's teacher at all. He's a
person you go to after you know what you want to do, but
you're having a little trouble getting it out.
SF: How would you suggest a drummer learn song forms?
TLC: You have to know the tunes. Piano players and horn
players all know the changes and the tunes. But, sometimes
drummers don't have to know all that. So, it's important to
listen and know all the tunes and the melodies. Hum them in
your head while you're playing or soloing.
SF: Did you go through a time where you memorized songs?
TLC: Right. Not note for note. For instance, Alan would have
you hum a song and have you read and switch 8ths while you're
reading out of Stick Control or something. Then you'd have to
hum the song out loud and solo while you're singing the song.
That lets him know that you know the song. You're thinking
more musically. That's one way to do it. Solo and hum the
tunes out loud. And know tunes. Pick up a fake book. If you
see a tune that you don't know —learn it!
SF: Or buy records and do a lot of studying?
TLC: Right. Also, listen to musical drummers like Max Roach.
SF: The way Max plays is deceiving. If you've been used to
listening to the Buddy Rich school of drumming, what Max
does sounds simple, until you try to play that way.
TLC:What Max does is harder. He plays so much more musical
instead of just a lot of chops or playing around the drums. I
think a lot of drummers don't really try to make melodies out of
the drums. They try to see how fast they can go and loud and
strong. But, Max gets songs out of the drums. He's the only
drummer I know who does it that well.
SF: How did you get in a position to meet all the great musicians
you've been with?
TLC: I live in Boston and there were some good clubs about
seven years ago: The Jazz Workshop, Paul's Mall, Sandy's
Jazz Revival, Lulu White's, Tinkers, The Lion's Club. All
those clubs brought in the prestigious jazz people that were
around. I would just go and see them. My father knows a lot of
musicians, so he would introduce me to them and tell them that
I was playing. They just asked me to sit in sometimes. I was
fortunate enough to be around at the right time. They were
intrigued, I guess, to see what I could do because I was so
young.
SF: Wasn't Rahsaan Roland Kirk the first person you sat in
with?
C
o
M
I
N
6
o
F
A
0
E
’JAY 1983
19
TLC:Right. When I was five I sat in with him. I sang and shook
the tambourine on "Volunteered Slavery."
SF: Who was the first person you sat in with on drumset?
TLC: Probably Rahsaan or Clark Terry. I don't think Clark
was the first, but he was one of the first. Rahsaan came to town a
lot. I sat in with Clark when I was 10 years old. He took me to
Witchita, Kansas to do the Witchita Jazz Festival. This was
Clark Terry's East Coast/West
Coast Jazz Giants which consisted
of Louie Bellson on drums, Jimmy
Rowles on piano, George Duvivier
on bass, Garnett Brown on trom¬
bone, A1 Cohn on tenor sax and
Eddie "Lockjaw" Davis on tenor
sax.
SF: Did you sit in on Louie's
drums?
TLC: Yeah, that was an experi¬
ence. Ten years old? To tackle
Louie Bellson's drums? Double bass drums?
SF: Could your feet reach the pedals?
TLC: Yeah, but I had to sit on the end of the seat. They
reached—but just barely. But, that was always something that I
had on my side. I could always adapt to other people's drums
very easily.
SF: When you're five years old, how do you adapt to the size of
a professional size drumset?
TLC: Well, I didn't start playing drums until I was seven, but
that's pretty small, right? The first set I had was my grandfa¬
ther's old set with a 28" bass drum. The bass drum was bigger
than I was! But, I figured out a way. I'd lean against the seat
instead of actually sitting on it. But, playing Louie Bellson's
drums was an experience. I don't think people could
really see me. The set was covering me up because I
was so small.
Also, Illinois Jacquet was an early influence. My
three earliest influences, as far as encouragement,
were Rahsaan Roland Kirk, Illinois and my Dad. All
those people played horn and that's what I wanted to
play. One night after hearing Illinois, I said, "I want
to play the saxophone." Those three really made me
interested in music.
SF: Did those people help you with life philosophies?
TLC: In later years. I can't really remember the con¬
versations we had when I was five or six years old. But,
in later years a bunch of musicians talked about all
kinds of stuff. Very encouraging. They'd tell me
things to keep me going.
SF: How is it going to be at Berklee? People attend
Berklee to get to where you already are professionally.
TLC:I'm not going to Berklee to learn how to play the
drums. I'm going for writing, arranging and all the
technicalities that I don't have together. I've had pi¬
ano lessons, but I haven't put the time into the piano
that I have on the drums. I started studying vibes with
Alan. I'm going to Berklee to try to get that together because I
want to be able to play a melodic instrument so I can write.
Eventually I want to create a style of my own in writing too.
SF: Do you have goals set for yourself?
TLC: Well, for the next four years I'm going to be in school. I
want to get a degree. I just want to get up some playing experi¬
ence during summers, weekends, vacations, school or what¬
ever. I want to get experience that I don't
have. After that four years I want to
eventually have my own group and fol¬
low in the lines of Art Blakey, Elvin
Jones and Max. Art Blakey has The Jazz
Messengers. Roy Haynes has The Hip
Ensemble.
SF: What about the band on your re¬
cord? George Coleman on tenor, Buster
Williams on bass and Kenny Barron on
piano?
TLC: That's not my band. I play a lot
with Kenny and Buster when I get gigs.
SF: How did you line up those musicians?
TLC: They hadn't even heard me the first time I played with
them. They were playing with Ron Carter and I would go see
them. I really loved Kenny and Buster's playing. And Ben
Riley! Phew! I got a gig at Sandy's Jazz Revival in Boston to
bring in whoever I wanted. I asked my father if I could use
them. He called them up and asked them if they would come.
They said, "Sure." Then he called Frank Foster. At the time I
was 14.
SF: They didn't give your father a hard time?
TLC: It was a good gig. I was real excited and I wanted to get
good musicians.
"IF SOMEBODY PRACTICES FOR
EIGHT HOURS A DAY, THEY SHOULD
BE A MONSTER. IF THEY’RE NOT
AND THEY HAVE TO PRACTICE THAT
LONG ... IT’S NOT NATURAL."
by Laura flriedman
f
Max Roach with a young Terri Lyne Carrington.
SF: That's amazing. Your Dad makes a phone call to three of
the best jazz musicians in the world, says, 'Hi, my 14-year-old
daughter has a jazz gig. Can you make it?" And they do.
TLC: They knew that I was playing. It's not like I called them
up cold. I don't know why they came! I don't know why a lot of
people asked me to sit in. But, it happened and I'm very grate¬
ful. "Youth" had a lot to do with why I wasn't afraid of asking
or of doing things. When you're young, you don't know.
SF: You never felt intimidated by those musicians?
TLC: Not really. Now I start to feel more intimidated than be¬
fore. Those are a bunch of great guys. I think I was lucky to
have so many friends in the business. These people aren't just
good musicians that I play with—they're friends too. And I
really have the utmost respect for them.
I went to Chicago last May and played at Governor State
University with Kenny and Buster. That was the first time I
traveled to play without my parents. It was nice. We did a con¬
cert and then we did some clinics.
SF: What kind of audience usually attends your clinics?
TLC: When they set up clinics they try to capitalize on my age
and try to get younger people interested. A lot of my clinics are
at high schools. I've done some college clinics too. I like doing
clinics.
SF: What areas do you cover?
TLC:It depends on what the audience wants. I ask the audience
to ask questions, and a lot of times, when you have a young
audience, they don't want to ask questions. They're afraid to or
whatever. The younger the audience, the harder it is. It's hard
for them to relate sometimes and be open enough to ask ques¬
tions. I ask them to come up and play and they don't want to.
But, I cover rudiments and rituals tor
beginners. I read a little from books
and show different concepts that Alan
has shown me. I demonstrate some
funk, different Latin beats, jazz. I ask
them what they want me to do.
SF: How did you like high school?
TLC: To be perfectly honest, since the
first day of freshman year, I couldn't
wait to get out. I wanted to be around
music and musicians. In my high school
the average student was into rock and
punk rock. That wasn't me. I just wanted to be away from it. I
graduated in three years instead of four. I doubled up on my
classes just to get out. I'm glad I did.
I'm glad I went through it though because it was a good aca¬
demic school. I was in the top of the class. I was in accelerated
programs. That's another reason why I could get out early. I
was an "A" student. See, whatever I do, I like to give it my best.
I didn't love school. A lot of people say, "Wow! She gets all
'A's. She must be in the books all the time." That wasn't it. I
just always wanted to do my best in whatever I did. I didn't like
going home and doing homework, but I made myself do the
minimum that I could to get what I wanted to get. I could've put
more into it and gotten more out of it. But, I got the grades.
SF: Where did you learn to discipline yourself like that?
TLC: I don't know. It's just in me, I guess. It's not really a
discipline, it's just a desire to be the best. Not the best. I'd settle
for top ten!
SF: Do you feel part of that came from your parents?
TLC: Yes. They want to do the best at what they do too. I think
most people should want to do their best. People who work
want to do the best at their job
so they'll get a promotion or
money. It's the same with what¬
ever else you do. Give it your
all.
SF: Did you get criticism from
your peers because you were be¬
coming a successful player?
TLC: Nobody tried to drag me
down. Whatever I got was en¬
couragement, but a lot of the
people didn't know what I was
into at school and in my day-to-day life. I didn't talk about it
that much or dwell on it. They encouraged me whenever they
did talk about it because it wasn't anything that they had to get
jealous of. Half the people—they didn't think of it anyway.
"Jazz? Drums?"
SF: Who would you go to then in times of frustration or insecu¬
rity for heart-to-heart talks?
TLC:My father and mother. All my conversations in that area
have been with them. There are a few students over at Berklee
that I can talk to. But my father and mother understand me
better than anybody else.
SF: How did your album come about?
TLC: We wanted a better form of publicity for me to get jobs.
"ITS IMPORTANT TO LISTEN AND
KNOW ALL THE TUNES AND THE
MELODIES. HUM THEM IN YOUR
HEAD WHILE YOU’RE PLAYING OR
SOLOING.”
mumm
INN 1
Guidelines For
The scene: Lobby interior of your basic,
sprawling Hotel/Motel complex.
The time: 4:00 A.M.
The young, blonde cherub smiles innoc¬
uously from her upholstered aluminum
perch behind the front desk, then slowly
slides along the formica surface to the
awaiting group of yawning, disheveled
strangers invading her quiet, uninter¬
rupted world of late-night lethargy.
She appears unforgivably fresh, consid¬
ering the hour, her bright, shining eyes
peering over her wire-rimmed, tinted, pre¬
scription lenses, combined with the ever¬
present aroma of innumerable sticks of
Juicy Fruit. The cherub produces a re¬
served flash of company hospitality and
eyes the group critically.
"Good evening, can I help you?"
Eric Moonchild, drummer, band leader,
and equipment owner, heaves a deep
breath of weary surrender and speaks
through a cloud of nicotine and bitter java.
"Yeah, hi, I'm Eric Moonchild of Eric
and the Bullweavels. The band that starts
in your Apple Crisp Lounge tomorrow
night. We'd like to check in, please."
The tight, semi-professional smile sud¬
denly falls from her face, and her small,
cosmetically induced frame shifts ner¬
vously from her protective, oak wood sol¬
ace. After a second of deep thought and
conviction, she may attempt another wry
grin and grab several registration forms.
"Okay. But there is one thing. We
didn't expect you 'till tomorrow. I'm
afraid your rooms aren't cleaned. We can
only provide two for tonight. The band
rooms. The others will be cleaned by to¬
morrow morning. That okay?"
Not likely. Eric and the boys have just
completed a twelve-hour, cross-country
by Kevin B. Mohror
TheTraveling Drummer
jaunt across two time zones and are in seri¬
ous, dire need of sleep.
"We try to make them as comfortable as
possible. They don't have televisions, but
have good sturdy rollaway beds. No doors
on the bathrooms and no windows, but
there are several attractive lamps and we
always provide plenty of towels."
"The, uh, contract state three rooms..."
"I know, and I'm terribly sorry, but as I
have stated, they're not clean."
"Can I speak with someone in charge
please?"
"I'm sorry, but I'm the only one here
tonight. The assistant manager will be in at
nine tomorrow morning if you'd like to
wait."
"And there is just no possibility of get¬
ting another room, just for tonight?"
"I'm sorry, the other rooms are for pay¬
ing guests of the hotel. We try to keep the
band people together, on a different floor.
Far, far away from our other guests."
"Okay, then I'd like to rent a room for
the evening ..."
"I'm sorry, we don't rent to undesir¬
ables."
Okay, so the above scenario sounds a bit
unrealistic. Yet, between the lines and un¬
derneath all the schtick, there lies, for
those of us who make our livelihood on the
road, an undeniable vein of truth and legit¬
imacy, one that, chances are you either
have experienced, or probably will.
This article has resulted through many
years of drumming with various bands
throughout the Midwest and Canada and
could quite easily be applied to any one of
a number of music trade journals. How¬
ever, selfish as it may appear, my main
concern remains with drummers carving
out a living on the road.
There are literally thousands of us who
can claim this rather unorthodox lifestyle,
moving regularly from town to town, club
to club, hotel to hotel. And in order for us
to keep our lightning clean chops and visu¬
ally entertaining demeanor, our off-stage
lives must be pleasant, or at least tolerable.
What follows is not meant, by any
stretch of the imagination, to be condes¬
cending or judgmental. And quite obvi¬
ously it is also meant, not so much for the
multi-million-dollar arena act, but to the
thousands of us who chisel out our exist¬
ence in hotel/motel lounges and show¬
rooms across the land.
Before progressing further, let's delve
into our memory banks and relive one of
our more unenviable, though unfortu¬
nately all too frequent, experiences. The
hotel check-in, where with the very best of
intentions, you attempt to acquire accom¬
odations at an establishment other than
the one where you are working. (Your
rooms aren't provided in the contract.)
What follows, once asked the highly intru¬
sive question, "You're here for two weeks,
so what do you do?" is the total oblitera¬
tion of the once bright, accomodating
smiles and warm hospitality. Once discov¬
ering your occupation, you can be ex¬
pected to receive streaks of flairing conde¬
scension and an all too spontaneous list of
house rules and regulations.
This experience leaves me hurt, frus¬
trated and always asking myself, "What in
the world is so degrading about being a
working musician?" followed closely by
the ever popular, "I am a human being
too!"
Undoubtedly, we are of a different breed
in regards to working hours, waking
hours, and general variences in timetables
and priorities. But the bottom line remains
that we too are of human stock, use legal,
green currency, and thus should be allotted
the same courtesies and gratuities. So why,
then, are we so often treated not unlike an
abtrusive form of communicable plague
when checking in or out of a hotel?
Let's refer to a fictional scenario, one
built upon fragments of fact and past oc-
curance which may start the ball rolling in
uncovering the basis of our plight. For the
moment, allow yourself to suffer the indig
nity of Hotel Manager, Assistant Man
ager, Front Desk Manager, Bar Manager,
and the like.
Mr. Jake T. Moneybags (well known lo¬
cal multi-millionaire) decides to build his
own hotel. Five stories of glass and con¬
crete, brick and mortar, its spacious inte¬
rior laden in an array of multi-colored car¬
peting, wallpaper, furnishings, and office
supplies.
He hires his staff, everyone from Gen¬
eral Manager to custodian, then sits back
awaiting the inevitable parade of booking
agents who will accost the lounge in an ef¬
fort to acquire an exclusive on that trea¬
sured "room."
The agent who presented the most at¬
tractive bid is given the tentative go ahead
and books "Binky Tom and the Star-
lighters," a six-piece, top-40 show band
into the new room. After the usual con¬
tractual negotiations, the bottom price is
met and they receive five rooms on the first
floor. The band meets with the manage¬
ment, everyone checks in, and contem¬
plates a two-week success.
Binky Tom and the boys have a perfectly
splendid time and bring the house down
every night. Money is made for the room,
CrMliriunj i?r? jfii iRt*
23
MAY 1933
Photo Oy Lme Wales
Mn any conversation with Eli Konikoff,
Mthe word "human"pops up with the
M regularity of sign posts on a highway.
His own, highly personal odyssey has
taken him around the world, yet his mem¬
ory is marked less by a spirit of place than a
spirit of people; those he has influenced
and been influenced by. Music is a thing
alive rather than a mere livelihood. For
him, human contact and communication
are the threads that unify his musical life.
His willingness to share his experience and
transmit the inspiration he has received
from others to younger players, reflects his
deep understanding of the long chain of
tradition.
JD: How did you get started playing
drums?
EK: Actually, I started with the trumpet in
the fourth grade, you know, when they of¬
fer the kids an instrument. I played trum¬
pet for two years, which gave me a basic
melodic training. My brother, who also
plays trumpet and was much better at it
than I was, would come in and practice at
the same time. He'd make me feel inade¬
quate because he was so much better than
me, so in 7th grade I changed to drums.
One reason for that was, I think, because it
was the early '60s when rock really started
coming out and I saw a lot of drummers
playing rock.
I was brought up pretty much on the big
band era drummers; Gene Krupa and
Buddy Rich were a big influence, and my
family was heavily involved in big band
music. My father is a Dixieland trombone
player. He's had his own group for 30
years, so Dixieland and big band music
was pretty much what we listened to.
When those bands came to town, we would
go to see them.
JD: Who did you study drums with?
EK: My first teacher was Jack Shilling, a
drummer in Buffalo, and he really started
out with all the basic stuff, you know, the
rudiments. Not only that, but also reading
music out of books and how to play the
trap set, as well. Jack had a real great feel
for big band-type stuff.
Then later on, after about four or five
years, I took a break from lessons. Then I
went to Johnny Roland who was the head
percussionist with the Buffalo Philhar¬
monic and an unbelievable teacher.
Johnny taught great independence and a
reading ability. He was unbelievable.
JD: Did you major in music when you
went to school?
EK: Music was the strongest influence all
through school mostly because there was
music throughout my family.
JD: How did you become involved with
Spyro Gyra?
EK: Many years of prayer [laughs]. No, it
was a long time. I had been playing on the
road for eight or nine years, playing with
different groups, traveling and hoping to
make enough contacts to get with some¬
thing that would become successful. I'd
left Buffalo for that purpose. Musically,
Buffalo is good if you're a local musician.
You could play every night of the week in a
different bar, because they've got a lot of
bars. But as far as going anywhere, doing
anything big, writing your own music and
performing it, Buffalo wasn't the town to
do that in. So I left and started touring,
hopefully to meet the people or group who
would have an opening. The whole thing
was so ironic because after years and years
of doing that, I got a phone call to go back
to Buffalo and play with Spyro Gyra.
I met the guys in the bars and I played
with them when they were making like
eight dollars a man for a night, six or seven
nights a week. I left the band for a while
because I needed to make more money, but
I got called back. So, I just met everybody
through playing in the bars in Buffalo.
JD: How did your approach to playing
change as you adjusted to arenas from
clubs?
EK: Each place has its own unique prob¬
lems, so you have to take each as it comes.
It takes an adjustment of touch and tech¬
nique. The judgement you use in each
place goes back to your own experience in
playing and realizing what your job is in
the band and what it should sound like in
the mix.
JD: What is your concept of the drum¬
mer's role in a band like Spyro Gyra?
EK: It's the heaviest position to be in, in
this type of band. It's the hardest job be¬
cause, to a certain degree you're directing
and controlling the other musicians.
You're a cohesive part of the other mem¬
bers as they're playing. It's a very hard po¬
sition because it's very demanding physi¬
cally as well as playing wise. By that I mean
the physical aspect is so important because
our shows are around 1 1/2 hours long and
the energy level is passed real quick.
JD: There's a lot of percussion used in
Spyro Gyra. What is your goal as the
drummer playing against it?
EK: That's a good subject to talk about—
drummers and percussionists. They should
work together, I feel, in very clean, ar¬
ranged parts. There should be room for ex¬
pressing yourself but it should be like a
sixth sense. In other words, you should
know when something's going to happen
so you don't start playing parts over each
other and playing too busy. I feel that a
good drummer and a good percussionist
works well, and they're both "tasty" when
they both know what they're doing and
know the skeleton of what's going down so
they can work off that. Once they get com¬
fortable, they have that sixth sense. You
just pick it up. When he's doing a fill, you
don't, or you'll be stepping on each other
and it gets too muddy. I like everything ar¬
ranged.
JD: Do you consider yourself a jazz drum¬
mer?
EK: No, I don't. I consider myselfanr&b,
funk and rock drummer. There have been
a lot of influences, but I think what I play is
a more r&b type of drumming.
JD: What do you think about or concen¬
trate on while you're playing?
EK: I don't focus on any one point, be¬
cause if I get focused on one point, I lose
the concept and the feel of everything else.
The drummer should just "be there," but
not locked into any one idea or thought.
It's just a total immersion into everything
that's happening at the time.
JD: What is your approach to playing a
ballad?
EK: You immediately become a lot more
sensitive because it's a lighter tune and it
calls for a different kind of sensitivity. I ap¬
proach it with that kind of head.
JD: Do you ever use brushes?
EK: Not in a live show, but in the studio,
yes. I think it's becoming a lost art. I enjoy
brushes.
JD: What grip do you use?
EK: Matched grip. I was taught traditional
for the rudiments and all that, and for big
band playing, but the power and speed you
get from matched grip just can't compare,
as far as I'm concerned. Especially for the
type of music I'm playing.
JD: You've updated your set recently.
EK: That's right. Recently, we've been to
Japan four or five times and the band is
very popular there. So, Yamaha was inter¬
ested in working with me. They gave me
sets to try out but they were not to my par¬
ticular liking so, through negotiating, they
built a set to my specifications based on the
Recording Series. All heavy-duty hard¬
ware. Even so, I'm breaking hi-hat and
bass pedal footboards. I'm an animal
when I play. I break rims and shatter syn¬
thetic sticks. Sometimes, the band's sound
level gets pretty loud and the demand on
me to keep up the volume is intense. Espe¬
cially in arena situations, it becomes pain¬
ful, I have to play so loud.
by Jim Dinella
& Janet Ricotta
transmitting
the
inspiration
MAY 1983
25
JD: Does this affect your choice of drum
and cymbal sizes?
EK: Sort of. I have a 24" bass drum, 8",
10", 12" and 16" power toms, a 16"floor
tom mounted on the bass drum and an 18"
floor tom on the side. That's all the drums,
except for a 6 1/2" snare. I use all Zildjians.
A 20" ride, an 18" heavy crash, and an 18"
Swish. I break these all the time and I'm
considering going to larger sizes and
heavier weights. I'd like to say that Lenny
DiMuzio is the greatest and he's always
right there when I need him. I almost for¬
got to mention my 15" New Beat hi-hats.
JD: What do you look for in a set of
drums?
EK: I look for a wood sound. I like a real
thick wood shell to give me a real big, deep,
low sound, which I like.
JD: What do you look for and listen for in
a cymbal?
EK: The tone, especially in the ride cym¬
bal. I look for a cymbal that doesn't build
up too much overtone. When I do the bell
work I want to hear a clean sound without
too much overall buildup. In crashes, I like
different sounds, a high-pitched crash ring
and sustaining cymbals that have just the
right duration that I want. You have to
work with a cymbal to get to know its char¬
acteristics; how long it's going to be there
when you hit it.
JD: When you record, do you use your
own drums or the drums that are already in
the studio?
EK: That's an aspect I've been lucky at.
I'm always allowed to use my own drums
which means there's more money involved
because of taking the time in a studio to set
them up. You have to pay the studio time
while you do all that, so I'm really in a
good situation that I can use my own
drums. We spend anywhere from 10 to 14
hours getting drum sounds and in a lot of
situations it can run into a lot of money,
but, you know, it's very important.
JD: The same drums and the same set-up?
EK: No, I use one bass drum in the studio.
The same exact set-up, except I don't use
the 24" bass drum.
JD: Do you alter your tuning for record¬
ing?
EK: I don't like to alter the settings for the
studio. I just put new heads on a day or two
before so they stretch out and get a nice
melodic sound. Then I tune them the way I
want them to sound. You know, every¬
thing I do is monitored by our producer
who is a drummer, too, so he knows me
and we work well together.
JD: What is your opinion on muffling the
drums?
EK: A lot of drums are over muffled, over
taped and stuffed. They try to eliminate a
lot of ring and overtones that are just
there. I believe in a little tape and a little
reduction of overtones, but not too much
muffling. I like a live drum which will ex¬
plode when you hit it, and when you hit it
lightly, it will respond properly to your
touch and technique. A lot of drums don't
respond at all, even if you really lay into
them. A drum should respond to you for
the situation you are in.
JD: So, you're not into putting pillows or
whatever inside the drums?
EK: No. I mean, I have blankets in my bass
drum, but as for really heavy muffling, I'm
not into that. The bass drum is a very
tricky instrument, and it depends a lot on
what situation you're in and what kind of
sound you want.
JD: Tell us something about the cage
around your drums.
EK: The cage I'm using now is a design
that we never got to complete. It was going
to be enclosed in plexiglass to give the
drums a better sound on stage, a sound
with more definition. The sound wouldn't
leak out into the other microphones on
stage.
JD: What is your opinion on reading mu¬
sic?
EK: I think that reading music is a very
necessary part of being a drummer and a
musician. Every drummer should know
how to read music or have experience read¬
ing. It's up to each one of us to keep our
reading chops up. It's very hard when
you're away from it for a long time—you
have to start all over again. But it's very
vital.
Studio musicians in New York are very
proficient because they read every day, but
when I'm in this situation where I travel
eight months a year, I get no chance to read
music or practice on my drums. When
tunes are brought in for Spyro Gyra, the
artist brings us a sheet with chord changes
and maybe some kicks and hits. I read off
that, but they don't really write drum
parts, so I'm allowed to make up my own
parts and sections and I just follow the
chord changes.
JD: So there aren't any set charts?
EK: No, not with Spyro Gyra. There are
certain sections that I have to follow, but
no explicit drum parts. Everything is pretty
much what I feel, or what everybody feels.
JD: Are you realizing the musical goals
you set yourself with this band?
EK: Yes. Over the years with this band,
I've definitely seen myself grow and I feel
that my chops have gotten better. I never
used to be a soloist. They've given me a
feature spot and I've had to fill that spot.
I've learned how to do it.
JD: How do you think about soloing?
EK: I don't stick to the tune. I try and for¬
mulate ideas as I go and grow with it—take
it someplace and bring it back. I state a
theme for a while, then go off into what I
feel; whatever flows out of me. I try to
make it fluid rather than jerky; no abrupt
changes. It's not as scary now, because the
more you do something, the more com¬
fortable you get. Same with the studio.
When I used to be in the studio I wouldn't
know what to expect or how to approach
it. Through the years, I've gotten better be¬
cause I've relaxed due to my previous ef¬
forts and experience. A feature spot for the
drummer gives him a chance to express
himself, but I don't think he should get
carried away. I've seen too many drum¬
mers go on for too long.
JD: I know that drummers who are just
starting to play with bands have a tendency
to play fills as fast and as loud as they can.
Your fills are very tasty. Do you have any
helpful hints that you can share?
EK: Well, it's just from being an accompa¬
niment player while the musicians are in
front soloing. Try doing just the part
you're supposed to do, stick to your role,
keep it tasty and sensitive.
JD: When you play, do you tend to play
ahead of the beat, right on the beat, or be¬
hind it?
EK: My concept is to play a nice big pocket
for the type of tune we're doing, whether
it's Latin, funk or a swing section. I like it
to feel not on top, yet not behind the beat,
but right on the beat with a fat feeling. The
only other way I can explain it is that it's
got to feel good.
JD: When you see other drummers play,
what do you look for?
EK: I watch their coordination, the way
they move, the coordination between their
26
MAY 1953
hands and legs. I don't sit there and try to
analyze what they're doing technically. I
just watch and try to pick up what they're
putting out. I don't like when people watch
me and think that I'm doing this beat or
that combination. Don't analyze me, man!
Just feel what I'm doing! I don't look at
other musicians that way. I never try to an¬
alyze, so I hope they don't analyze me, ei¬
ther.
JD: I noticed on the Carnaval album that
you're listed as co-author of the tune
"Dizzy." How did your writing come
about?
EK: Well, through a lot of encouragement
from the people in the band, especially the
keyboard player and my roommate, Tom
Schuman. When I had ideas for different
beats or melodies, I'd put them on tape
and play the tape for him. Or I'd sing cer¬
tain rhythm lines or melody lines to him
and he'd help me write them down. I'd
keep these ideas in mind and come up with
a few more bits and pieces, and he'd col¬
laborate with me. We ended up writing
several tunes together, so Tom helped me
realize that I have the ability to write, and
helped write them down so they can be
used.
JD: Do you plan to continue composing?
EK:Oh, definitely. It's something that I've
only just started.
JD: How do you react to someone saying,
"You're only a drummer"?
EK:I laugh because it's either a joke or it's
not worth even getting mad about. It's
something that they either understand or
they don't, so I usually just laugh.
JD: Do you feel a drummer should know
more than just drums, such as other per¬
cussion instruments or even piano?
EK: I definitely think that the drummer
should have some training in melody.
When I was in college, all drummers were
required to take a minor in piano. I think
that it's important and necessary.
JD: What is it like being on tour and play¬
ing with a group like Spyro Gyra?
EK: It's wonderful. It's great. This is my
dream come true. I always wanted to be
successful, to play in different countries
where I can't speak the language, but can
communicate with the music. I always
wanted to be able to write music and per¬
form it for people all over the world. It's a
dream come true, but it is starting to wear
me out a little. We don't take much time
off. I would like to be able to take a little
more time off for writing or just to be at
home, relaxing.
JD: Your touring schedule for 1982 was
awesome.
EK: Yeah, 1982 was the busiest year for the
band out of the last five. As far as road
work is concerned, travel abroad through
Japan and Europe, I'd say it's been our
best year. We worked more jobs than in
previous years. Financially, it's been very
good. The band's music, everybody's indi¬
vidual writing and careers, all seems to be
growing, so I feel pretty good. Tired but
good.
JD: Have you been touring so much partly
as a result of the economic crunch and the
necessity for keeping the band in the public
eye without a lot of record company sup¬
port, dollar-wise?
EK: The company has other groups that
are top priority. We aren't their main con¬
cern as far as promotion. When an album
is released, to coordinate advertising and
radio spots for concerts and pushing the
album is the company's concern. If you
don't get that push, then touring has to
supplement advertising, or lack of it. We
tour nine months a year to make up for the
lack of promotion.
JD: Is there a strategy behind your touring
campaign?
EK: We work colleges, night clubs, any¬
thing, from 500-seat clubs to 10,000-seat
arenas. The idea is to work everywhere.
The idea is to work.
JD: Are there things that you do regularly
before you play?
EK: I don't eat for four hours before I
play, because I can't play if I do. I've seen
guys eat a big meal and then go on stage
and play. But I don't eat. I try to stay light;
do a few exercises just to warm up a little
bit. Definitely, the better physical shape
you're in, the better you will perform.
There's no question about that. I know
from personal experience. Playing today's
music in this type of a band, for most
continued on page 98
MAY 1983
27
Photo by Ussa Wales
Here’s Where To Find Them.
Aemc Music
Creative Drum Shop
Liers Music
Pro Drum Shop
Shelton. CT.
Scottsdale, AZ
Garden Grove, CA
Portland, OR
203-734-7570
602-941-2235
714-638-5437
503-282-0555
Akron Mu&ic Center
D.J.’s West
Long Island Drum
Professional Drum
Akron, OH.
Phoenix, AZ
No- Merrick, NY
Hollywood, CA
216-376-6189’
602-275-0655
516-781-0777
213-469-6285
A1 Nall Music
Down Home Guitar
Long Island Drum
Purvis Drum Shop
Ann Arbor, MI
Anchorage, AK
Conuaack, NY
Seattle, WA
313-665-7008
907-279-5335
516-499-0455
206-244-0550
Albert's Music
Downtown Sounds
Long Island Drum
Rocket Musk
ELI Cajon, CA
Northampton, MA
Little Neck, NY
Greenville, NC
619-460-7641
413-586-0998
212-428-8500
919-752-1159
Audio light + Musk it!
Drumshine Shop
Me Grach's Music
Saied Musk Co
Norfolk, VA
Cincinnati, OH
Stuart, FL
Tulsa, OK
804-853-2424
513-821-8866
305-283-7404
918-742-5541
Audio Light + Musical
Easy Music
Metro Music
Shreveport Music
Raleigh, NC
Honolulu, HI
Atlanta, GA
Shreveport, LA
318-227-2733
019-832-0123
808-833-9021
104-261-3611
B + G Music
Edwin’s Musk
.Midway Music
Sound Post West
Belleville. It
Buffalo, NY
Cleveland, OH
Mt. Prospect, IL
312-259-0470
618-233-1581
716-892-8018
216-661-3298
Bund Shell Music
Freehold Music
Midwest Music
Sound Vibrations
Marshall, MN
Tom's River, NJ
Cincinnati, OH
Corpus Christi, TX
507-537-1686
800-392-6927
513-631-8318
512-884-8981
Bender and Block
Garden State Music
Mike’s Drum Shop
SPL Sound + Musk
Sterling, IL
Tom's River, NJ
Santa Barbara, CA
Vineland, NJ
815-625-0450
201-255-2627
805-962-12U
609-691-6690
Birmingham Percussion Center
Gemini Music
Music +
Starlitc Musk + Audio
Birmingham, AL
Fairmont, MN
St. Louis Park, MN
Upper Darby, PA
215-352-7873
205-252-2533
507-235-5190
612-938-9099
Brook Mays Pro Drum Shop
Gill's Music
Music Connection
Strait Music +Audio
Dallas, TX
Antioch, CA
Forest Lake, MN
Austin, TX
214-631-0921
415-757-2323
612-464-5252
512-476-6927
Buffalo Drum Outlet
Gordon Miller
Music Headquarters
Take 5 Music
Chcekiowaga, NY
Towsen, MD
Ft. Myers, FL
Lancaster, CA
716-897-0950
301-825-2558
813-936-6909
805-945-5030
C + S Music
Greer Music
Music Headquarters
Terminal Music
FT. Worth, TX
Florence, SC
Naples, FL
New York, NY
817-834-1974
803-662-8773
813-775-9593
212-869-5270
C + S Music
Guitar * Drum Center
Music Place
Texas Tom's Ml
Spring, TX
St. Clair Shores, Ml
North Reading, MA
Houston, TX
713-350-0150
313-773-1191
617-664-6213
713-680-8510
C + Z's Ber Music
Guitar Doctor
Music Quarters
Texas Tom’s W
Harrisburg, PA
Orem, UT
East Detroit, Ml
Webster, TX
717-652-7714
801-226-3015
313-777-2333
713-332-1588
C+M Music
Guitars Etc.
Music Store
Texas Tom’s M3
Sparks, NV
Bellevue, WA
Racine, Wl
Houston, TX
702-358-5372
206-451-3878
414-632-9296
713-469-9279
Caldwell Music
Guitars Etc,
Music Unlimited
The Music Shop
Abilene, TX
Seattle, WA
Stillwater, OK
Iowa City, IA
915-677-2471
206-623-8877
405-377-1282
319-351-1755
Caldwell Music Ml
Jackson Music Center
Music World
Thoroughbred Music
San Antonio, TX
Little Rock, AR
Spokane, WA
Tampa, FL
813-238-8893
512-227.-7523
501-224-0606
509-838-1481
Caldwell Musk U2
Janis Music 4
Music World
Treasure Valley
San Antonio, TX
Tracy, CA
Boise, ID
Ontario, OR
512-341-4418
209-835-U 25
208-343-9101
503-889-4664
Carroll's Music
janis Music
Musician's Exchange
Turner Music
Auburn, ML
Manteca, CA
Ft. Lauderdale, FL
Van Wert, OH
207-182-2545
209-823-3067
305-164-1905
419-238-9466
Casablanca Music
Joe Voda Drum City
Musician’s Exchange
UMS
Btmidji, MN
Omaha, NB
Hampton, VA
]£au Claire, W1
218-759-1270
402-397-1060
804-827-9969
715-835-2235
Champion’s Music
Jonesboro Studio of Guitar
New Jersey School of Percussion
Vesky Music
Houston, TX
Jonesboro, AR
West Grange, X]
Lav Vegas, NV
713-890-8009
501-972-0321
201-736-3113
702-382-8777
Charles Bean Music Co,
K,C. Music It Pro Audio
Noldcs Music Box
Wcmblie Audio + Percussion
Westerly, RI
Overland Park, KS
Flcmmington, NJ
Hastings, NE
401-596-7034
913-381-5206
201-782-2824
-102-463-1443
Christian Book Store + Musk Center
Kaye’s Music
Ontario Music
Wild West Musk
Eastman, GA
Reseda, CA
Ontario, CA
Albuquerque, NM
505-243-2229
912-374-2319
213-881 -5566
714-983-3551
Coast Music
Kempfer .Music
Park Music
Ye Old Guitar Shop
Fountain Valiev, CA
Bethlehem, PA
Lccdihurg, PA
Gastonia, NC
714-963-6735
Colfax Music
Denver, CO
303-832-6526
Colfax Music
Denver, CO
303-758-6777
Cordcr & Sons
Huntsville, AL
205-534-8406
215-865-2641
Kurkin Music Co.
Worcester, MA
617-853-6417
Liers Music
San Bemadino, CA
714-884-8815
Liers Music
Riverside, CA
714-784-0581
412-842-6171
Peterson Music
Sterling Heights, Mi
313-979-8780
Phillips Music
Clovis, NM
505-763-3457
Pianos and Stuff
B la unox, PA
412-828-1003
704-867-9599
iOT/
Stix
DEAN MARKLEY DRUMSTICKS 3350 SCOTT BLVD, *29, SANTA CLARA, CA 95051 I40S) 988-2456
TEL EX OlCL33#2Mf MAW K L EV 5NTA I«ti3 DE AN M A RK L EV 5TRINGS, INC
If \bu Can Find Them,
Buy Them.
# Finding Dean Markleys* new professional line of
Hickory Drumsticks is not always easy to do.
Our 22 step manufacturing procedure, including a
unique machining process which gives true center
turning, 5 step sanding station for an extremely
smooth feel, a unique “ot7 finish'* that seals and adds
strength to the wood for a longer lasting stick and 4
different check stations for uncompromising quality
control, takes a little longer and limits our
production. But, we take the extra time to make
sure we offer the finest drumsticks anywhere.
Limited production means we won’t be able to
supply every store. So, if your favorite dealer
doesn’t have Dean Markiey Stix™, give us a call and
we’ll help you find them. When you do, you’ll be
grabbing hold of what professionals are saying is
“The Finest Drumstick In The World”,
Dean Markiey, Inc,, $ti* Division, 3350 Scott Blvd, #29 Santa Clara, CA 95051 (408) 988*2456
Telex qmmott MARKIEY SNTA * Dean MafWey Siring*, Inc: 19S2
by Nick Forte
Odd Time Signatures
For some years now, there has been a growing interest in odd time
signatures. The problem many students experience with odd signa¬
tures can be traced back to an unclear understanding of the basics
of counting. By definition, a time signature suggests a uniform
system of counting/grouping by which we can organize note values
in a readable manner.
Theoretically, any number may appear at the top of a signature.
However, 2, 3, 4, 5, 6, 7, 9, 12 are used most often. The bottom
number always indicates the note value that will become one beat/
count.
At the risk of oversimplification, there are only three basic types
of time signatures:
A) Those that utilize two beats per bar. (2/8, 2/4, 2/2)
B) Those that utilize three beats per bar. (3/8, 3/4, 3/2)
C) Combinations of A and B.
Time signatures that have the same denominator have the same
count-to-note relationship. In 2/4, 3/4, 4/4, 5/4, etc., one quarter
note/count equals one beat. In 2/8, 3/8, 5/8, 6/8, etc., one 8th
note/count equals one beat.
Of course, regardless of what time signature you're in, the inter¬
relation of note subdivisions is constant—a quarter note can al¬
ways be divided into two 8ths, four 16ths, etc. How these notes are
counted depends on the time signature.
THE 2/8 TIME SIGNATURE
Definition: Two 8th notes (or equivalents) in each measure. Therefore, in 2/8 you are limited to those note values that equal the duration of
two 8ths. Examples of 2/8 divisions, and their count:
12 12 12 1 + 2+ 1AN2AN I u + d 2 u + d
j iuanju5^im
THE 3/8 TIME SIGNATURE
Definition: Three 8th notes (or equivalents) in each measure.
1 2 3
i
1 2 3
I 2 3
1 + 2 + 3 + 1+2 + 3+ Iu + d2u + d3u + d
jjor.
* "3 I J"1J J J J \ I
The 5/8 time signature is simply a composite of one measure of 3/8 and one measure of 2/8. The 6/8 time signature is a composite of two
measures of 3/8. The 7/8, 9/8, 12/8 have similar characters, since they, too, are composites of 2/8 and 3/8.
THE 2/2 TIME SIGNATURE
Definition: Two half notes (or equivalents) in each measure.
I (+) 2 (+) 1 + 2 +
j j j j
1 u + d 2 u + d 1 AN2AN
~m rm i j j j j j j
THE 3/2 TIME SIGNATURE
Definition: Three half notes (or equivalents) in each measure.
1 (+) 2 (+) 3 (+) 1 + 2 + 3 + Iu + d2u + d3u + d 1AN2AN3AN
jj j j j j. jjjjjjjj
CUT TIME
It is common to see music which appears to be in 4/4, but which is preceded with a Cut Time, or Alla Breve, signature. This means that
the music is to be counted as though it were in 2/2, that is, with two pulses per bar rather than four. This type of signature is used
extensively in show, society and circus work, and is the essence of many Latin rhythms.
1 +
i ^
2 + '1
J e :
i +
JsJ
lJ
! 4
J \
]
r
□ q, j,
’ r f
■ f
continued on next page
30
MAY 1983
MD5S3S
"As q rock drummer I need rhe power to cur
through rhe orher instruments in rhe band. My
cymbals have ro deliver when I want rhar power
crash or cutting ping. My sticks have ro be exten¬
sions of my hands, strong, but also absorbent for
rhe punishment rhar they're about ro take.
Drums are a key part of our music. If I can't be
heard, there's no point in being there. Thar's why
I use Comber."
ALICE COOPER OAND
For further mtormorion and oor FREE boaklei
How To Choose A Cymbal fill out this coupon
Nome _
Address
City _
Z.p -
Stare
My Mush: Store Nome
CAfflBER CVmBAlS & STICKS
101 Horton Ave., P.O. Box 607, Lynbrook N.Y. 11563
TEMPO
The main element that all time signatures are bound to (and
revolve around) is tempo. However, time signatures, per se, do not
automatically imply any specific tempo.
When a piece of music contains more than one time signature, it
may (or may not) indicate a change in tempo. However, with each
new signature, you will feel a change in rhythmic "posture."
In example #1, because the bottom numbers of the signatures are
the same, there is no change in tempo. But, because the top num¬
bers differ, the location of the main pulse is altered. If a tempo
change at the 3/4 section is desired, it must be noted with words
like "slightly slower" and/or an additional metronome mark.
Ex, # ],
Cym. 4
3
nr ,;
3
1 x JT3 ns
... 3
>J 7 J J 1
r f
■ r * [iA
r r r 1
Example #2 illustrates that once you get into a new signature, the
counting must be adjusted to fit the denominator of that signature.
Note that the 3/8 section of this example is counted exactly the
same as the 3/4 section. However, the 3/8 section will be played
twice as fast.
Ex, #2.
123 1 + 23 1 u + d 2 3 + 123
^ j n i j.
i j j j | j ij j
123 1+2 3 I u + d 2 3 + 123
•*
1
m m m # m m m m
n±±
When moving between two signatures with different denomina- is a notation over the time change indicating that 8th note equals
tors, there are two possibilities: either the note values can remain 8th note. Therefore, the 8th notes in the top line will stay at the
the same, or the "pulse" can remain the same. In example #3, there same speed, but the bass drum notes will be slower in the 3/8 sec¬
tion.
Ex. #3, j + 2 + 3 + 4 + 3 2 3 1 2 3
Snare
Bass
rrr
i
^ j J 1 ^ J
In example #4, quarter note equals dotted quarter. This means that the bass drum part (the "pulse") will remain the same speed
throughout. The snare drum part will speed up, however, in the 3/8 section.
Ex. #4,
J-J.
1 + 2 + 3 + 4 +
3 2 3 3 2 3
{ f l J f l J <
I
I + d 2 + I + 2 +
j~hj n JTi ,:/m n» n * +
SNARE DRUM SOLO
123 1 + 2+ 1+2+ I + d 2 +
2 U
1 234567 12345+6+7 + 123456789
£
nu j
H no J J £ l £
1+2 3+ 4 5 + 6 7891 2 N34N lu + d2u + d3+4 +
9* “ 9
/TJT^nT] t u J J J>J J J>
1
S'
f-
1 23456789 10 11 12 1
J J J>J J J.
I + 2 + 1 + 2 +
2 345 6 7 8 9 10 11 12
■ J *1 > j | J >A
32
MAY 1983
iNtHHP 1
Not only do we stand behind our drums... this
time, to prove a point, we stood on our drums!
Sonor drums have massive shells that need
no extra reinforcing hoops, and are built from
the outside in with staggered seams for extra
strength and clearer resonance. They are full
vibrating 9-ply beechwood shells with 45
degree bevel sound edge, in a choice of several
finishes and veneers including elegant
rosewood.
Our latest series is called the Phonic Plus line.
PLUS means more in every way; more sound,
more volume, more power, more drum! They
ALDEfl
Charles Alden Music Company,Inc.□ P.O.
Box
231 .Walpole, MA 02081 □ (617} 668-5600
||
k’v*
have all the regular features, plus...elongated
shell depths for optimum sound. The Phonic
Plus line is available in a gloss white or red
mahogany finish.
We’ve been making quality drums for over
100 years. If you want the best... you want
Sonor. Send for our new color catalog, include
*3.00 for postage and handling.
it SONOR
introductory
?wo r Sets For
The Price Of
One $8.95
Consistent
Weight
Controlled
Balance
Rapid
Response
Longer
Lasting
These Keynote" Nylon
drum sticks are designed]
and engineered to have
the balance and feel of
the finest hickory sticks ,
with unbelievable res-J
ponse. They are molded
in one piece. The weight
of the drum sticks are
machine controlled to J
insure a constant,
balance. Keynote" of-1
fers several different
colors including, Sky |
Blue, Neon Red and
Ivory White. We manu-j
facture five different
models and lengths, i
7A-15V4", Jazz-16",
Rock-16", 2 B-16"and
3S-17".
Please Include $1.50 for J
shipping and insurance
per order.
Dealer inquiries welcomed
r Dmni Sticks
PETERS
PERCUSSION
P.O. Box FF
Boynton Beach,
Florida 33435
( 305 ) 586-4222
Photo by Rich Malkin
Palmer continued from puge /3
RF: Out here in L.A., when musicians
were first exposed to rock 'n' roll, the gen¬
eral consensus was that it was deplorable.
EP: Well, what did get me pissed off some¬
times was that out here you get so catego¬
rized. I always felt that just because this is
what I did that attracted the attention of
people, that didn't mean I was limited to
doing that. I don't want to be limited. I
didn't go to music school for four years to
just play rock 'n' roll. But fortunately, I
got the opportunity for people to know
that I did play other things by doing the
films and the television.
RF: Why did you come out here and when?
EP: That was 1957. I came out here be¬
cause my first wife and I separated, and I
was then with my second wife, Susan, who
was white. We didn't want to hide around
New Orleans any longer. Before my first
wife and I separated, I had been asked a
number of times by these people when
they'd come to New Orleans to record, to
come to California; that I was badly
needed out here in the studio. Before I
came, they were using two guys on many
sessions to do what I was doing. They
would use one guy to play a shuffle rhythm
and the other guy would play the backbeat.
So they were saying, "Why don't you
come out to California? You'll make a
mint." My first wife didn't want to come,
but then I came out with Susan, who died
in 1972. We didn't want to stay in New Or¬
leans any longer and that was my main rea¬
son for coming out.
RF: That was very early to have a racial
intermarriage.
EP: Very much so.
RF: Was it markedly different out here?
EP: Well, it was different in the sense that
we were not restricted as to where we could
go and be together. We still evoked stares
from people and got snide comments as
we'd pass by. With my temper, that didn't
go over too well, but it was an enlightening
part of my life. I learned a lot from Susan,
who taught me an awful lot about people.
You see, in all my travels in those days, it
didn't matter how far north you were,
there was still some segregation, so you
were still pretty much kept to your own
people. From Susan, I learned an awful lot
about the white world, if we put it in blunt
terms. I learned a lot from her, which I am
grateful for, and it enabled me to take the
chip off my shoulder, meet a lot of people
and understand people and realize that
there's good and bad people everywhere.
There's good and bad blacks and there's
good and bad whites and I found that out
very early, largely thanks to her.
RF: Did you feel the music industry was
any more liberal?
EP: Yes, it always has been because you're
thrown together a lot more, but there's al¬
ways been some problems in the music in¬
dustry. There are right now, as a matter of
fact. You wouldn't think so, but there are.
I'm a member of an organization called
MUSE (Musicians United to Stop Exclu¬
sion) whose main objective is to try to elim¬
inate some of those things that are happen¬
ing. Like the situation in the Hollywood
studios right now—unless the children of
black musicians are able to get into that
continued on next p&ge
MAY 1983
34
Drummers now have the freedom to mike their drums
any way they want, without worrying about taking up too
many channels on the main board. With the M268 from
Shure. you can plug in up to eight microphones, mix them
any way you want, anil use only one channel of your bands
PA. And you'll get the same great sound as if your micro¬
phones were plugged directly into the main board.
Best of all, the M268 includes several design features that
will be especially appreciated by drummers. The mixer has
four microphoh e/i n s t ru men t channels. Each features an
type connector and a 1 4 * phone jack to handle either
XLR-
low or high impedance microphones and
instruments. All of the connectors can be
used simultaneously, providing a total of
eight inputs. Phantom (simplex) power is
SHURE
provided to eliminate the need for a separate power
supply for condenser microphones.
What’s more, there’s never a problem with distortion
since active gain controls handle even the hottest sounds
from your microphones without overloading.
And. for easy expansion as your drum kit grows, each
unit also features a mix bus so an additional M268 Mixer
can be connected for even more inputs.
The Drummer’s Mixer from Shure-all the inputs your
playing ever needs.
For more information on the Drummer’s
« Mixer, call or write Shure Brothers Inc., 222
Hartrey Ave., Evanston. II, 60204. (312)
866-2553.
THE SOUND OF THE PROFESSIONALS... WORLDWIDE
-wAC©
STEVE SMITH DEREK HESS
JOURNfY GQSSINGTON COUIN S BAND
Photo bv Rarrdv Bochmon Photo by Way^e Cohen
Send $2.00 for complete catalog
Trust the tender®
LATIN PERflSSlOY
160 Belmont Am, Dept. MD. Garfield, NJ 07026
field like the children of the white musi¬
cians, what can we tell our black kids in
school? When they say, "How can I get in
the studio and make the money that is be¬
ing made out there?" How can you tell
them they aren't hiring? I can understand
if they're not hiring me now. I've been
there; I've made some money. Youth has
to be served, but there aren't many
younger black guys coming along out
there. This is the problem that is being con¬
fronted now and the blame is being pitched
back and forth between contractors and
leaders. The leaders say the contractor
didn't hire any blacks and the contractor
says, "I hire who the leaders say to hire."
So they're hiding behind each other.
All of it isn't racial. A lot of it is social.
A contractor hires the guys he came up
with or who he lives near and who he asso¬
ciates with. But at the same time, the
young black musician is entitled to a little
too. Just because he doesn't live near you,
play golf with you or go to school with
you, he's still got to make a living. His tal¬
ent shouldn't be relegated to playing the
black clubs and socials and stuff like that.
He's got the talent, he just isn't getting the
opportunity. I think one of the reasons is
that there are no black hiring agents out
there. All the contractors are primarily
white. Recently, I did some contracting,
and what I did was successful. I think I
proved that I could have an integrated
band and have quality music. I made sure
that I hired not only whites and blacks, but
also women, Orientals, and Latinos. You
know, everybody you have in the band
doesn't have to be the very best. What is
happening with the minority is that when
the minority is hired, they have to be the
very best, and that is where it's not fair.
The same thing has to happen with em¬
ployment in that walk of life that we've
been striving to get in employment every¬
where else. It's a huge industry out there
and all these people should be part of it
too. We have figures at the Union that
would appall you; files of contracts to
show the numbers. It used to be that con¬
tractors were far more powerful than they
are now and they had the say when the
leader would say, "Get me a band," if he
didn't say "Get me this person or that per¬
son." I can't throw all the blame on them
because I wouldn't have made the decent
living I made if it weren't for the contrac¬
tors hiring me. Of course, I realize also
that I was in demand, but contractors can
circumvent that sometimes, like I've seen it
circumvented in my case sometimes. Now¬
adays, I'm inclined to blame the leaders
primarily because if they don't want to
look prejudiced, they've got to not act
prejudiced. When they have an all-white
band in the studio of 35 and 40 musicians,
then they have to understand that anybody
who would walk in is going to naturally
think, "Well, he doesn't like these peo¬
ple." What else are they going to think
when they don't see any blacks or women
there? The line you get is, "I just didn't
think of it." So that means, "You don't
have to eat." He thought about those guys
having to eat, but he didn't think about
me, and I've got to eat too. I've got to go to
that same supermarket and pay those same
prices, so if you don't think about me, you
don't care for me. That's all I can say. But
like I said, it isn't a racial situation in every
case, it's social too. And I've seen people
try to rectify the situation also. Right after
the strike, when we got some legislation on
the table, there was a little bit of an up¬
surge of black hiring, but it's gone again.
Some years ago, we had another move¬
ment along those lines. We got a couple of
musicians in the Academy Awards band,
where there had never been any before. I
don't know if there are any now, but with
those things, whenever you make a little
noise about it, it happens and then it dies
down.
RF: It's nice to see that you're so con¬
cerned. You have had a tremendous
amount of success and you are still con¬
cerned about those who haven't. That's
not always the case.
EP: That's one of the real problems of the
blacks. Many of those who have had the
success are not interested in the other
blacks' problem anymore. That is one of
the problems the blacks have with the
blacks. The main thing a black should
want is to be in the mainstream of everyday
life and have the opportunities, that's all.
But you find a lot of blacks, when they get
into the mainstream, tend to forget some¬
times that they're black, and their respon¬
sibility. We have a lot of blacks too who
are "professionally" black because it's ad¬
vantageous for them to be black. We have
a lot of stars who have their own produc¬
tion companies and such, and the bulk of
their staff is white. They are what I call
"professional" blacks. They are now be¬
ing very, very vociferous about being
black, but when you go to their production
company offices, you won't see any blacks
in the high echelon—the policy making of
the company. You may see some secre¬
taries, but that's it. There are a lot of
whites who are not hiring equally, but
there are an awful lot of blacks who do the
same.
RF : So what happened when you came out
to California?
EP: Well, on the strength of being on all
those Fats Domino records, I did work for
a lot of different companies. I got so busy
working for them that I didn't stay with
Aladdin Records but for about a year as
A&R man for them. I got so busy that I
couldn't do that work, and they weren't
doing that much as it was. So I left them
after a year and sorry to say, they went out
of business about a year later. And once
the other companies for whom I had
worked in New Orleans knew I was here,
they began calling. In addition to which, I
continued on next page
36
MAY 1983
Get 5 days of personal,
in-depth instru ction
from some of
the greatest
names in percussion.
Whatever your ability level, if you
play or direct percussion and
want to set better at it, the week
of July 17-23 could be one of the
most valuable you'll ever spend
It's the week of Ludwig's Interna¬
tional Percussion Symposium, and
it's a rare opportunity to get inten¬
sive, one-on-one instruction from
some the world s finest and most
famous percussionists The faculty
for this year's symposium includes names like.
Michael Derosier
Ed Shaughnessy
Cloyd Duff
David Samuels
David Friedman
Butch Miles
Danny Gottlieb
Alan Dawson
Fred Sanford
Total Percussion Performance in all topics
General Percussion For non-piaytng directors
Plus, each performance course will be taught in three separate
ability levels from beginning to advanced.
It won't be all work.
There'll be some fun thrown in, too Like free concerts every
evening featuring the renowned players who’H be teaching you
every day
It's the 12th International Percussion Symposium, and its all
taking place July 17-23,1983, at the University of Tennessee in
Knoxville The tuition 7 Only $120
For complete details,
mail this coupon.
LUDWIG INDUSTRIES, INC
1T7S North DditkCfl Avenue, IL 60647
r
n
Pick your own course of study,
set your own goals.
To make the symposium more productive, you'll have
the opportunity to participate in one or more of
five specialized courses
Drum Set Rock, Jazz,and Commercial
Mallets - Classical and Jazz
Marching Complete sec¬
tions or individual
Mail to F MICHAEL COMBS. Professor of Music
Department of Music, University of Tennessee
Knoxville,Tennessee 37916
Name
Address
Spe ific Interest
Gty State Zip_
Aqe
Have you attended a prev . js PefCUSSK n Symp s um? .
Mel Bay Presents
FUNK
iiimii'iiinim
By Jim Payne
FUNK
DRUMMING
One of the most well-written
books available for contem¬
porary percussion, this exten¬
sive spiral-bound text contains
coordination exercises, an¬
alyses, drum charts, and
recorder examples of 11 rock
and funk styles. Analysis of
Latin music and its application
in rock and funk, the Samba
influence, Reggae, and funk
oriented polyrhythms are also
contained. The entire book is
integrated with a companion
cassette featuring recorded
examples of complete songs
in 11 rock and funk styles. The
cassette is recorded with and
without drums so you can play
along. In addition the cassette
contains 27 rhythm section
fills recorded with guitar,
piano, bass, and drums. It also
contains 39 additional drum
beats, and 29 exercises. Book
list $7.95 Companion stereo
cassette $7.95
Send check or money order plus $ 1.00
postage and handling to:
Mel Bay Publications, Inc.
Pacific, Missouri 63069
started being recommended by other musi¬
cians I had hired and played with who were
the best, like Benny Carter, Buddy Col¬
lette, and Red Callender. Then they began
recommending me to the people they had
been working for. Especially after I started
working with Buddy's group and every¬
body knew, "Hey, he plays jazz too!"
That's what I was playing before I was
playing rhythm & blues. So I started
branching out to other companies and then
into the films. I used to turn down record
dates to take film calls. Record dates paid
more, but I had to make an inroad into the
film area because you last longer in films.
Records are a more evolutionary thing and
there's more of a turnover all the time.
RF: Tell me about the Motown situation.
EP: My first association with Motown was
through two guys, one who is still produc¬
ing for them now, Hal David. We used to
do an awful lot of Motown stuff, and at the
time, we didn't know it. We knew it was
Motown, but we didn't know who the art¬
ist was going to be on it. We heard these
records and tapes come back and knew it
sounded familiar, but we knew we hadn't
recorded with the Temptations or with Di¬
ana Ross. We were doing a lot of tracks out
here and two girls by the name of the Lewis
Sisters were singing on them. They must
have done a thousand albums, yet I never
remembered their having a record out.
RF: Why did Motown do it that way?
EP: At that time, many companies were
doing it. There was a rule in the Union
where you could not do tracking because
tracking did not allow musicians to make
the proper amount of money that they
should make. You were only supposed to
record with the artist there. If you tracked,
you had to pay a penalty for tracking. So
rather than pay a penalty for tracking and
not having the artist there who was back in
Chicago doing a concert or something,
they had the Lewis Sisters, and we re¬
corded the Lewis Sisters almost every day.
Linally the Union found out about that.
To this day I don't know how. Honest to
God, I didn't report it, although I should
have. But somebody did and they cracked
down on it. They sent us retroactive checks
from way back. So my first association
with Motown was with Hal David and
Fred Wilson who were the only two pro¬
ducers they had out here I think. We used
to do all these things in an old ramshackled
house behind Sunset Boulevard. Carol
Kaye, Arthur Wright, and Red Callender
did some. In fact, Carol played guitar on
some of those early Motown things. I
helped introduce her to the business when
she was playing guitar. I still worked a lot
for them when they first built their studios
on Romaine.
RF: So what changed?
EP: Ben Barrett was their contractor then
and he used to do the payroll for them also.
I used to work a lot for Ben on other gigs.
Being black and Motown being a black
company, automatically threw me into the
Motown situation, which from then on,
gave me the opportunity to do all of the
Motown stuff. I was also able to help get
another guy started in this town, a tremen¬
dous drummer by the name of Paul Hum¬
phry. I sent Paul on a date in my place for
Motown and guaranteed Ben that he'd do
a good job, and he did. I was also instru¬
mental in helping Harvey Mason. They
needed a young black drummer for a part
in Mod Squad and I recommended him for
it. My son was out of town or I probably
would have recommended him. These guys
were very good players and they were also
guys who had attitudes that you didn't
have to worry about in the studio—about
being on time, appearances, attitude. But a
fall-out with Ben Barrett was more or less
the end of that situation. That was about
eight years ago. My association had begun
to deteriorate a little bit earlier than that
because I began to feel that Motown was a
company that was supposed to be a very
black company and they prided themselves
on the Motown sound, the black sound
and all of that. I don't know what it's like
now—I haven't been around there—but
for a time there, the operation was more
white run than it was black, which
smacked of hypocrisy to me. I think I
voiced that a couple of times and that was
the end of my association with them. But
that was alright because that's the way I
felt about it. The highest paid position was
Ben Barrett, and he sure as hell wasn't col¬
ored. So I made mention of that a couple
of times and I guess it didn't go over too
well. But I had a lot of fun.
Now, that is the one alteration in my
playing where I don't feel there was a New
Orleans flavor in the music because even
then, Motown had a distinct sound. To get
that sound, it changed my whole hearing
concept for a while. What they meant by
sound wasn't so much sound as it was a
motion—an action from the drums. They
didn't like cymbal sounds. They liked the
bass drum and they liked the snare drum. I
played a lot of bass drum, it's true, but in a
different aspect, so it changed my thinking
a little in order to get the sound they
wanted. I had creative freedom, but I still
had to maintain that sound and alter my
playing. I think that changed the New Or¬
leans feeling totally for the while I worked
with them. I don't think you could have
told my playing from anybody else's on
those records, except for maybe fills. I had
guys who said they knew it was me by cer¬
tain fills I played, but rhythmically it was
strictly the Motown sound. So other than
the guy in Detroit who really started it, the
original Motown drummer whose name
was Benny Benjamin, I think I did a lot of
the early hits.
RF: How did the film opportunities come
along for you?
EP: Like I said, I wanted to show that I
could do other things. I wanted the oppor-
C&nttHW0 on next pane
38
MAY 1983
SAPIXM
CYMBALS
CANADA
IS PROUD
TO
ANNOUNCE
THEIR
EXCLUSIVE
U.S.
DISTRIBUTORS
LUDWIG INDUSTRIES
Ludwig Drums
Chicago, III.
PEARL INTERNATIONAL
Pear! Drums
Nashville, Tenn.
SUNGERLAND DRUM CO.
Slingerland Drums
Niles, III.
CHARLES ALDEN
MUSIC CO,
Sonor Drums
Walpole, Mass.
KUSTOM/GRETSCH
Gretsch Drums
Gallatin, Tenn.
5ABIAN
CANADA
SALES OFFICE: 4800 SHEPPARD AVE, EAST, #115, SCARBOROUGH, ONTARIO M1S 4N5 (416) 298-9551
HOT %
DRUMMERS^.
DEPEND ON^
the Original World Famous
PRO CADDY RAX™
“CONVENIENCE WHEN
PERFORMANCE COUNTS"
Patent pending
'The Personal Convenience Accessory"
ALWAYS WITHIN CLOSE EASY REACH
PRO CADDY RAY™
SECURELY HOLDS ALL REFRESH-
MENTS cups, cans, glasses, bottles ETC
EASILY ATTACHES TO ALL STANDS
(No tools necessary). And lor your
valuable hardworking hands a luxurious
Towel Arm Rax.
Because you're a physically active
musician — you will depend on the
convenience of PRO CADDY RMT.
PRO CADDY RAX™
Available at finer dealerships,
WORLDWIDE. Ask your dealer*
MECHANICAL MUSIC CORPORATION
622 Hickory Drive
Buffalo Grove, Illinois 60090
(312)459-6727
If you cannotfind our PRO CADDY RAX in
your area, please send us a check or
money order for $12.99 and we will pay the
postage. Available in W heavy duty □ or
W for light stands □ Please indicate
(money back guarantee) Fast delivery!
Signature X __ _ _ _
Name ___
Address ______
Clty_______
State/Zip_____
tunity, so whenever I got a chance to do a
film call, if I had to turn down a record
date, which paid more money, I would, in
order to do the other. The longevity is
greater in films than it is in records. I think
the first film call I ever played on was a
thing with Little Richard in The Girl Can't
Help It, the main title. Somebody didn't
show up or something like that on the
drums and I got the opportunity to play the
serious part of the score. Then I made
other contacts and met other people by
having to go on the call and do one part
rock 'n' roll and getting the chance to do
the other things until I got the recognition
for being able to do the serious music.
RF: When did you find that the record
dates began to get less in quantity?
EP: About five years ago, records began to
diminish for me. At first I didn't know
whether it was just new faces coming on
the scene or the business just getting to be
less. Now I'm sure it's the business, but
I'm also sure it's new faces—younger tal¬
ent—which is inevitable. When I came
here, somebody else was doing the work
too.
RF : Are there any new, young drummers
you admire?
EP: Steve Gadd, Harvey Mason, John
Guerin, Peter Donald and Peter Erskine
are very good, all-around young men and
that's always been what I admired; some¬
body who can play everything.
RF: How does somebody learn to be versa¬
tile and be able to play all styles?
EP: First of all, I think you have to have
the incentive to want to play all areas of
music because if you're pushed into it,
you're not going to want to do it. Having
that desire to play all kinds of things and
enlarging on it by listening to all kinds of
music and finding enjoyment in all kinds of
music is the key. Then luckily being
thrown into situations in the film industry
where you don't know what you're going
to have to do when you go there in the
morning most of the time is how it hap¬
pened for me. With films in recent years
beginning to play all kinds of music, you
get a chance to put that in operation.
RF: What other advice could you give to
drummers?
EP: Keep the time. Play that instrument
with time, read everything you can find to
read, and not just drum parts. Drum parts
are pretty much the same. They differ with
different tunes, but the parts themselves
are written pretty much the same. In saxo¬
phone, trumpet, clarinet and violin parts,
the syncopation will change more than the
average drum part, so to sharpen the eye,
read those parts. Mainly, have humility
with that instrument. If you don't, it's go¬
ing to be in bad taste. You can play in great
time, you can read your tail off, but if
you're playing too loud, then it's the worst
sounding instrument in the band. Make
the rest of the guys know that you're re¬
sponsible for the time. You're going to
catch hell for it when it's bad and you sel¬
dom get the glory when it's good. Some¬
how establish a rapport with them that if
they all play the time you're playing, if it's
good and consistent, then you'll all be in
time. You have to have a little bit of a take¬
over attitude without being overbearing,
for the good of the time feel. You can't all
be an individual leader and in that particu¬
lar instance, you're the leader, in that sec¬
tion.
RF: Is there a particular kind of music you
prefer to play?
EP: I have to say jazz for the simple reason
that all the music we play stems from jazz.
Every few years, periodically, it goes back
to jazz. And it has to. When you get to a
certain kind of music that is so far away
from the roots, you have to come back.
When it comes back, it comes back to some
form of jazz. This country doesn't appre¬
ciate that this is the only art form that it
has. Everything else started somewhere
else. That's appreciated around the world
more than it is here. Jazz started in this
country, and I'm very proud to say that it
started in New Orleans. Jazz is the most
creative of musics to me, because when
you're playing jazz, you're improvising so
much more than other music. So it gives
you more room for the creative aspect of
music and this is what keeps music going—
people creating. When you stop jazz, you
almost stop creating. You start creating
trends, but not music.
RF: What about equipment through the
years? Did you change your equipment
much?
EP: I haven't changed that much. I think I
was one of the first to use two toms up on
the bass drum, and then Hal [Blaine]
started using eight. That got such a good
effect that we all had to do it. It was very
good.
RF: What were you most recently using?
EP: I had four or five sets and used differ¬
ent ones at different times. I used Yamaha
some of the time and a Rogers about 50%
of the time. Some drums will tune a certain
way and the other set won't. The Yamaha
set I have needs less adjustment to change
the sound of it. If you go on a film call,
there may be one tune that's jazz and if
you're going to get the proper sound for
that tune, the drums can't be tuned to play
the next cue which is hard rock, maybe.
You have to find a common denominator
that will keep you from having to make too
much of a change in between. I find the
way I have the Yamaha set tuned already is
more versatile along those lines. Then I
have a Cameo set that I used for casuals,
which is more mobile since it's a smaller set
and it can get into my car easily. Then I
have a Rogers set which was given to me by
Louie Bellson that I used because it's more
adaptable to the rock sound. On the Rog¬
ers set I had eight toms like Hal had, but on
the Yamaha, I used two on the top and two
on the bottom. On the Cameo, I used two
continued on next pa%e
40
MAY 1983
THE
BETTER
ALTERNATIVE
from the Drum People
PRESENTED BY JjJB
Send for FREE catalog.
COSMIC PERCUSSION
Div. of Latin Percussion, Inc.
160 Belmont Ave., Dept. MD
Garfield. NJ 07026
^ A From
From
Calato,
of course!
Calalo’s
brand new wm
Jestick K
combines x t
In one
instrument ^■
the striking
tones of a
rosewood clave,
the jingling of
a tambourine n
and the
rhythmic grating
of a guiro —
producing unique,
intriguing effects.
Easy to catch on to,
and catching on
fasti Write tor free
Jestick Instruction
sheet.
calato
We invented Regal Tip®
At local music stores or
write Calato: Dept.MD
4501 Hyde Park Blvd.
Niagara Fails, N.Y.14305
Phone (716) 285-3546
on the top and one on the bottom.
RF: You're also quite involved with
NARAS (National Assoc, of Recording
Arts and Sciences).
EP: I' ve been involved with them for
twenty years now. I just completed a term
of vice president for the second time and
I'm serving my third term as national
trustee. It's a good organization and every¬
one in the industry should belong to it.
They should know what is going on in it.
It's an organization that can give praise to
various artists in various fields, and re¬
gardless of what anyone thinks, nobody
can deny that it is a totally democratic
process. The one thing you can ask from
an organization is that the voting is totally
democratic. If you don't vote, then you
can't complain about what record wins.
It's a matter of the voting people's choice.
RF: I wonder if you could tax your mem¬
ory to think of any records that you are
particularly proud of.
EP:I' m proud of an album I did with Sina¬
tra with Neal Hefti one time. It was built
around Sinatra's vocals, but it was also al¬
most an instrumental album with him sing¬
ing on top of it. Neal has the knack for
doing just the right thing on arrangements.
There's kind of a saying in the business
about his arrangements: "All you have to
do is play; you don't have to make them
swing. The way they're written, they swing
themselves." It was a great feeling doing
that album with Sinatra, who to me, is a
fantastic man.
There have been many other albums. I
remember some rock albums that were
fantastic. Another highlight was that Hal
Blaine and I used to do some things with
Jan & Dean where they used two drum¬
mers. The parts were identical and we had
to hit the same tom-tom at the same time,
the same snare drum at the same time.
Everything was identical. They wanted it
to sound like one drummer, but with the
body of two, and that was pretty gratifying
because we had to strive to make it sound
like one drummer. I think we did a fantas¬
tic job. Hal's great. A lot of people
thought Hal and I would be enemies be¬
cause we were direct competitors for a long
time, but that wasn't so. We used to com¬
municate quite a bit.
RF: Do I dare ask you the highlights of
your career?
EP: Like I said earlier, the first time writ¬
ing an arrangement in music school and
feeling that sense of having totally created
it and hearing it being played back. That
was the first euphoria I felt. Another was
doing a film call—some cartoon music
which is very, very difficult music because
it is all written, and because of the changes
of tempos and changes of instruments.
Doing one of those the first time and doing
it exactly right was another feeling of great
accomplishment because it was something
I hadn't done before. It gave me a chance
to prove myself to a number of people who
were on that date and who I had never
worked with.
Also, record-wise, there was an album
some years ago called The Explosive Side
of Sarah Vaughn. There were some won¬
derful arrangements in that by a great ar¬
ranger, Benny Carter. I don't think the al¬
bum was a great seller, but musically, to
me, it was a great album. I had a great feel¬
ing of accomplishment because the music
was difficult and it was very physical be¬
cause practically everything started in a
ballad and wound up real up-tempo. I felt I
did a good job on that and that was an¬
other highlight. Also, on the Delia Reese
Show, that was one of the best bands I've
ever played with. Every day was a feeling
of accomplishment. We had a number of
very good arrangers and Delia would never
change anything. They used to outdo
themselves trying to outdo the other ones.
We did that show every day for eight or
nine months. That was a wonderful experi¬
ence.
I did a casual once with Benny Carter at
the Paladium which didn't have promise
of being anything, but turned out to be in¬
credible. We weren't supposed to play any
dance music, but as it turned out, some¬
thing happened and we had to play dance
music. We didn't have any book, but Bob
Yeager usually kept Louie Bellson's ar¬
rangements to be shipped to him wherever
he needed, so he got out Louie's book.
That was a pretty good feeling to play that
thing sight unseen because it's all built
around Louie. It was fun too because it
was a drummer's book. We didn't play the
long solos—we'd condense it to maybe
four or eight bars because it had to be
dance music—but Benny Carter said it was
one of the best displays of sight reading he
had ever seen from a drummer. Lrom his
many years of playing with drummers, I
felt pretty good about that. So those are
some of the highlights, and there have been
many others. Buddy Collette's group was
great after coming here and not playing
any jazz and just doing records. Buddy
started his group and we opened at a club
one night and that was one of those magi¬
cal situations where everything was right,
everybody sounded great, you could do no
wrong, and everything you tried worked.
That was another highlight of my career,
as far as with a small group thing. We had
some fun days there and a lot of magic
nights. That's what the whole thing is, be¬
ing able to play and enjoy it. I always con¬
sidered myself very lucky to make a decent
living at doing something I enjoy doing
more than anything else. That doesn't
mean it's not work and you don't want to
be paid for it, but I always considered my¬
self so fortunate. Besides the time and
study you put in, the hard knocks and the
hamburgers, it's pretty gratifying to wind
up making a good living at what you want
to do more than anything else in the world.
42
MAY 1983
Pearl drums are just like me
Fat and Sensitive
• I love how they respond to any
kind of tuning and head combination. The X-l snare strainer is a beauty. It’s the
smoothest most precise I’ve ever seen. I have basically always felt that a drum is a
drum, and generally all or most of today’s drum companies make good quality
drums. So what can be so different from one brand to the other?
Jim Keltner
It’s just something you feel... I feel it in Pearl drums
A product of Pearl International, Inc. 408 Harding Industrial Drive, Nashville, Tennessee 37211
in Canada contact Pearl Music Division, I6t AWen Road, Markham. Ontario. Canada L3R 3W7
by David Moylan
niy
f
rp
h
Towards Ambidexterity
In the past decade, the left hand has often replaced the right in
leading rhythms around the drumset. Many of today's top drum¬
mers can play on a ride cymbal with either hand. It's said that this
new aspect of drumming came about to allow greater access to
large drumsets. But, its advantages go much further, and are of
undoubted benefit to anyone, regardless of the size of drumset.
Basic Exercises
First, practice the following accent exercises which focus on the
left hand. Exercises which emphasize the left, while the right fills in
the spaces, will help to orient the player to the accentuated left
hand approach.
LRRLLRRLRLRLLRLR
I
dm
mm m m
LLRL RLLRLRLRLLRR
LRRLR L LRR LRLRLRL
LRRLRL RRLRRL LRLRLR LRLRLR
Around The Set
One of the primary advantages of leading phrases with the left
hand is the new range of possibilities which open up in terms of
moving around the drums. It now becomes possible to start at the
low end of the drumset and work upwards.
SJX
m.
LRLRLRL
R L R L R L
S.T.T,
SD.
L.T.T.
rp
hJ— i
UiB-.. -
; v m
-n
:: d -J
L R
L R
* * f d
L R L
R L R
- - -^^3
L R
3 3
(LRR LLR LRR LRR t R L UR RL)
4 > j
TlffTtif
' .m*
m * m m a
■ * _ .. _l_ zn_ILZ_L_J 1
r * ■
i
—r ■' .1
(LRLRLR LR LRLRLRL L U
Left Hand Timekeeping
Now look at some advantages of using the left hand for time¬
keeping. First, play any number of basic rock rhythms keeping
time with your left hand on hi-hat until it feels entirely comfort¬
able. The right hand is now free to play the drums, and you're free
of using crossed hands. Here are a few basic coordination patterns,
first using quarter notes for timekeeping, and then straight 8ths.
"j- j
L-.
\ ,
i*
L*? —*
i J
= -*
i
1
f- --~~a
“J—--
r ■ [
3^
h-—-
°r=^n
■ -r =“
44
continued on next page
MAY 1963
REMO. INC., 12804 Raymer St,
North Hollywood. CA 91605 / (213) 877-3800,
Harvey Mason
Chester Thompson
Steve 8chaeffer
Send in a copy of this ad, $3 and your size for $8 value Remo j Pro-Mark T-Shirt, Dark brawn only. Limit i per ad,
L.H. on H.H, jJ
R.H onS.D. " ^_J** ^
B.D. —»- ± ~ *
4)
m
x—3,
B.D.
J 4 x
s
Mf f
jL j
. ■** ? -* :
-1
- -
4— +
p r • 7 ~
=^=h
— a
*
R.H. onS.D.
B.D.
A J d .
"jt:
t-_ ~a
-*?* * ±=^
4 —*
L C_'-^
- - 7 r ^
Here are a few more ideas using tom-toms. Left hand timekeeping lends itself particularly well to patterns which utilize the floor tom.
LJH. on H.H. 1 ^
R.H. onS.D.
R.H. on F T.
B.D.
K.
2 )
l
lj f r lj
j.
. d -±
-ej
L.H. on H.H.
R.H. on S.T
R.H. onS.D.
R.H. on " “
B.D.
Ji rm rm 4 , j — m
j 4. j j
■f *V -y -
r r : -p-
r p
! ^#T- .
*
HS..
Now try these more advanced fusion patterns using the same approach.
H. on CYM^_ft
H, on S.T
H on S O
D.
I § fTP F 1
f^= « 11 f • f y p ^
L.H. |
B ft d d J iL _jk
1 - * m m m \ »
f 1
g! , * i d si
— W - *M
ll- f ~~ .
* • - - f 1
ZR J 3=3
S „ JT3 »HR r~7^ J
i E
r- J-e.r
/
These exercises make use of the opening and closing of the hi-hat cymbals. Note how in some exercises the left hand plays the off-beat on
the snare drum also.
R .H. on C. Bell
L.H. on H.H.
/7 ~3^fT~g- , fT3
? ? P f -x- W f f £_ f £_* ?_* : 1J
c
F
COC DC OCO
£ fi £ S
COC oc o c o
£ £ £
confi/iMef/ rm /n j ay
46
ore ^ e
M uV ad6 n ^e sp0 p S r°' eC pAV
\n
cf aSp \0
daV
H
LONG ISLAND
DRUM CENTER
is proud to announce our
EXPANDED
Mail Order Service
CALL TOLL FREE
800 - 645-9595
for free price quote and catalog
Orders in stock
shipped 24-48-72 hours
NASSAU
0204 Jerusalem Ave. Merrick, NY
( 514 ) 781-0777
SUFFOLK
223 Com mack Rd. Com mack, NY
( 516 ) 499-0455
QUEENS
S52-08 Northern Blvd. little Neck, NY 1
( 912 ) 498-8500
Eventually you'll find you're able to include your left hand in
phrases; this being a further application of the two-handed phras¬
ing discussed earlier.
(R R L L R)
1
-1
i
u.h, ^
lj [_y
Ultimately our aim is to attain such a high degree of technical
proficiency that it's only a matter of convenience that determines
which hand leads the patterns we choose to play.
The Original
Original
Introducing
the 757
A new original original
from Ihe world leader
Pro-Mark Our new 757 is
I 6 V 4 " long (412 mm)
and 19/32” in diameter
(15 mm), and is desig¬
ned for extra strength
and correct balance.
This new, heavy duty
rock model features an
extra-large, iong
shaped tip and short
taper.
When You Find
a Good Thing,
Stick With It!
Wa help you aou nd belief * ■
pro-mark
" A DM*fon of R*me>. Irvc.
10706 Craighead
Houston. Texas 77025
713-666 2525
rT I
■■wnej, in g
M
S
NS#
i
Louie Bellson
We help you sound better, m ®
onc-maw
* A Division of Remo. Inc.
10706 Craighead/Houston. TX 77025
1713) 666-2525
The Original
Original
Introducing the
Billy Cobh am 767
A new original original
from the world leader.
Pro-Mark, the newest of
Ihe Billy Cobham
heavy-duly rock col¬
lection. Ifs 16” long
(406 mm) with a 5/8"
diameter (16 mm), with
a bad tip and very short
taper; just perfect for
heavy rock perfor¬
mance.
When You Find
a Good Thing,
Stick With It!
We help you aound better, m
arc-mark
™ A Division of Remo, Inc,
10706 Craighead
Houston, Texas 77025
713-666-2525
48
MAY 1983
CB700 means Percussion Plus*
today, or better yet, visit your nearby
KAMAN Music Distributors. PO Bo* 507, Bloomfield, CT 06002 CB700 Dealer.
PICKS
^rp
Liberty Devitto with Hi-Beat pedai 6740 Elvin Jones with Chain Drive pedal 6735
It's no coincidence that four great players like
Liberty Devitto, Elvin Jones, John Panozzo and Simon
Phillips all use Tama pedals. Tama makes 4 distinctly
different pedals, each designed for maximum speed,
strength and durability. Visit your authorized Tama
dealer and put all 4 models to the test.
John Panozzo with King-Beat pedal 6755 Simon Phillips with Flexi -Flyer pedal 6730
the strongest name in hardware
loi a full color catalog, send $200 ID. JAMA Dept MD
P G box 886, Bensalem, Pa 19020 P O box 2009. Idaho tolls. Id 83401
1 7421 ET tost Gale Ave City of Industry, Co 91748 in Canada 6356 Park Ave Montreal, PQ H2V4H5
Wackerman continued from page 11
"That's another hard question," he replied. "I hope I sound
different than anybody else. You learn as much as you can. You'll
play what you like. You'll play what you think sounds good and
fits the music. Eventually that turns into something, or it should.
You try to put as much of your personality into the music as it will
allow. It's always nice to leave your signature. Certain situations
allow it and others don't.
"I don't consciously try to imitate players unless I'm called on to
do that. If a producer says we want a Toto-kind of 16th-note rock
ballad with a Jeff Porcaro-type of sound, you should know that
style and how to tune your drums that way. But, I don't purposely
try to play like Jeff. I steal things from everybody but I don't want
to be them."
Chad mentioned Jeff Porcaro, Ed Greene, Bernard Purdie, Ste¬
wart Copelend, Terry Bozzio, Vinnie Colaiuta, Steve Gadd, Peter
Erskine, Tony Williams, Elvin Jones, Bob Moses, Jack De-
Johnette, Bobby Colomby, John Von Ohlen, Buddy Rich and
Louie Bellson as a few of the drummers who have influenced his
playing.
"I'm glad you didn't ask me who my favorite drummer is, be¬
cause I don't have one," he said. "That's one of those questions
that get asked. I have a lot of favorite drummers that I enjoy. You
can learn from everyone.
"A lot of times I went to a drum clinic not knowing what to
expect. There were drummers I had never heard of and some I had
heard of but had never heard play. Through the clinic I got to
understand what that person did. Some of it stuck."
Chad is a veteran of drum clinics. He'll still attend one if he has a
chance, and though he's usually not much older than the drum¬
mers in attendance, Chad puts on a pretty good clinic himself. He
talks about practicing and rudiments, working with different
rhythm sections, how to swing, how to groove, and how to play
some of the more exotic Latin patterns. Chad mentioned that he
prefers to do the clinic with at least a rhythm section.
"That way, I'm playing music rather than just a drum solo. I
expect the kids to get something out of the clinic," he continued.
"If they learn just one new thing then the clinic is a success. If they
learn two, that's even better. I pass along some of the things that I
learned from the clinics I attended, but I do other, more current
things, too. I try to let the audience hear something they haven't
heard before, or hear it in a different way. Sometimes I learned a
lot just from seeing a guy's set-up."
Chad has always had a large drumset. This tendency appeared at
an early age. He liked the variety of sounds and the impressive look
of a lot of drums. Once again his father was largely responsible.
"Dad's left handed and at the time I was starting to play we had
just one set. Since I'd always have to turn the set around anyway
I'd take the drums apart and retune them or set them up differ¬
ently. I remember the first jazz festival I went to I took two drum-
sets and put them together. I just threw everything I could find all
together. What a terrible kid," he commented.
The "festival model" drumset had a WFL 22" bass, a Ludwig
20" bass, a 5 x 14 metal snare, another 5 x 14 snare with the snares
off as a tom-tom, 8x 12, 9x 13 and 14x 14 mounted toms, and a
16" floor tom. The large set developed into a Wackerman trade¬
mark as Chad grew to "prefer that much noise."
One year, at the Reno Jazz Festival, Chad met Phil Hulsey and
Gary Beckner. Hulsey is the West Coast sales rep for the
Slingerland Drum Company and Beckner, at the time, was a
Slingerland executive. The two men came up to Chad, introduced
themselves and told Chad that they had enjoyed his playing. The
following year they were there again and they offered the 8th
grader a Slingerland endorsement.
"They approached me," Chad said. "They said, 'Play the
drums and see what you think. If you like the drums and you're
interested, keep them. If not, just send them back.' It wasn't a
high-pressure situation. It was real nice."
Phil Hulsey became like a second father to Chad. He introduced
Chad to other players and was very supportive of his playing.
When the time came, Phil helped Chad with his career and he also
gave him the opportunity to do drum clinics for the company.
Chad's current Slingerland set has a natural maple finish and
includes an 8x14 snare, 10 x 10, 10 x 12 and 12 x 14 mounted
toms, 16 x 16 and 16 x 18 floor toms and a 16x22 bass drum.
Chad's also using a rack of 6", 8" and 10" Roto-Toms and a 14"
Roto on a Pitch Pedal. Chad uses the Drum Workshop chain and
sprocket bass drum pedal and he was one of the first to use the
double bass pedal developed by Duane Livingston and now made
by DW. Chad's present set-up also incorporates the use of the
RIMS mounting system on the mounted toms and Roto-Toms.
In discussing Chad's tuning and head preference, he said to talk
to John Good. John is Fred White's (Earth, Wind and Fire) drum
"technician" and, on last summer's Zappa tour, took care of
Chad's equipment.
"When I first got the job with Zappa I had never met Chad,"
John related. "The first thing I wanted to do was rework his
drums. Immediately Chad said, 'Wait a minute!' There was a pe¬
riod of time that Chad and I had to hang-out and talk to each other
and actually become friends so that he would trust me.
"I don't like to go on the road with a drummer unless I can get
inside his drums and find out what I'm going to have to deal with
every day. That way I can come up with a formula that works for
the drummer and the situation. On the road it's best to have a
working instrument that requires as little maintenance as possible.
It's like driving a car that's been tuned once a day."
After reworking the drums and refining the bearing edges, Chad
was very happy with his set and with John's work. The two of them
then came up with a head combination that they felt would best fit
the requirements of the road, the music, and Chad's playing. To
get a snappy, melodic tone a Remo coated Ambassador head was
used on top. To restrict the amount of sound and bring out the
lows, Remo Pinstripes were used on the bottom.
"The top head is what the player hears," John said. "The bot¬
tom head is what everyone else hears. Most players who have prob¬
lems with their sound have problems with their bottom head. I tune
n^rjrrJiJfr^J nt\ /io , 1 fjujr
52
MAY 1983
Harvey Mason
Vinnie Colaiuta
ARTISTRY IN RHYTHM
Steve Smith
great artists
have in
common:
Denny Carmassi
iiJ 7\kira Tan3 'raij
j 1
# 1 y\ 1
§ 1 1 T *
LL5
[ m V
Drummers, Write For Our
FREE CATALOG
drum'WEAR
Satin Tour Jackets, T-Shirts,
Baseball Caps, Embroidered Patches,
Gig Bags, Bumper Stickers, & lots more.
PLUS MONTHLY SPECIALS
All Available Only By MAIL ORDER
Over 5,000 drummers already wear DRUM WEAR!
Write Us Today...It’s FREE
Drum Wear Box 9044
Panama City Beach, FL 31407
WORLD'S LARGEST DEALER
DRUMS-DRUMS-DRUMS
OVER 500 SETS IN STOCK
LUDWIG # SLINGERLAND # TAMA# NORTH • PEAR L
PREMIER#YAMAHA#CAMCO # Z \LDJI AN#SYNARE
GRET$CH#PA1$TE# ROGERS #$YNDRUMS# EVANS
REMO ROTOTOMS#GON BOPS# LATIN PERCUSSION
DRUM WORKSHOP# REMO# DURALINE #DANMAR
UFIP• TOSCO#CANASONIC#REGAL TIP#CAMBER
PROMARK#HANDS HICKORY • CAPE LLA • SAMSON
SUNKEN# VIC FIRTH #GOODMAN• POWERTIP
CARROLL SOUND# CASES0COVERS
MALLET INSTRUMENTS
Deagan#Mu$ser*Decatiir
FAMOUS LOW PRICES
Why wait? Call us now-we probably have it in stock.
the bottom head first and then the top head."
One of John's special talents is his ability to consistently tune the
drums the same way night after night and show after show. Be¬
cause Zappa records everything the band does, from sound checks
to rehearsals to concerts, having the drums sound the same at all
times is very important. John tuned Chad's drums twice a day;
once before the sound check and again before the show. The amaz¬
ing thing is that he does it by ear.
"Some people tune from the top drum down, others from the
bass drum up. I prefer to tune each drum where it sounds good to
my ear. That's what works for me," he said.
To keep the drum sound consistent, and also to avoid head
breakage during a concert, the tom-tom heads were changed every
three or four shows. The snare drum head was changed after every
show. That, of course, meant that the number of shows divided by
the number of changes, times the number of drums, equalled the
number of heads John needed to buy in preparation for the tour.
"I made a mistake, though," John said. "I prepared not really
knowing the material. When you prepare for a tour you should
know how the guy plays and the music he'll be playing. You have
to know the artist—not just what you think ought to be taken. I
figured out how many dates and rehearsals, what kind of budget I
had, and I ordered accordingly.
"But, I didn't realize that Chad had to do a lot of riding on his
16" floor tom. I've never seen anyone go through that many 16"
heads in my life. I made a mistake and didn't take enough 16"
heads. When we ran out of coated heads we found two Fiberskyn 2
heads in the case that had been left over from the last tour. We were
in the middle of Germany at the time and we decided to use the
Fiberskyns until we could get some coated heads. I put the first one
on and it wore out.
"We only had a few dates left in Italy before the end of the tour,
so I figured if I convinced Chad to lighten up, the last Fiberskyn
might just get us through. No sooner had I put the head on the
drum than a lighting technician who was working above me lost his
wireless headset. It landed with the two antennas poking right
through the head and it just stuck there."
Chad echoed John's comments about preparing for touring.
"For long tours you have to prepare," Chad said. "You have to
make sure you have everything and spares of everything. You have
to play it safe or you'll be stuck somewhere in Europe without
something you really need.
"We were in Geneva, Switzerland, and for some reason we had
broken all the snares we had brought with us. I found a guy at a
music shop who spoke English. I told him I needed a snare unit and
I pointed to the bottom of a snare drum. He said, 'No problem,'
and he went down to the basement. Then he yelled up, 'What color
do you want?' "
Another big part of Chad's set-up is his miking. Since the drum
mic's are used for the PA system and constant recording, Chad has
been using the Randy May EA internal drum miking system. The
FA system also makes it easier and less cluttered to set up the
drums. Each of Chad's drums has a microphone mounted inside of
it and a plug-in receptacle for the cable. The tom-toms have AKG
C-450s with 20 db pads, the bass drum has both a Shure 57and an
AKG D-12, and the snare has a Shure 57 for each head. There are
also two overhead mic's (AKG) for the cymbals.
Recently Chad was asked to endorse Paiste cymbals. After try¬
ing them he was happy to do so. His present cymbal set-up is a pair
of 14" Rock hi-hats, a 13" 2002 thin crash, a 14" Rude crash and
16" Rude crash to his left, and a 22" 2002 ride, inverted 22" Dark
China-type with a 14" 404 bottom hi-hat placed on top of it, an 18"
2002 crash and a 20" Rude crash on the right side. Directly in front
of him hang two Wuhan bell cymbals.
"The main reason I'm using what I'm using is that when I first
got the gig with Frank, he and I got together and discussed the set¬
up. He has a certain amount of things that you have to have. Other
than that I just like to have as many colors as possible," Chad
explained.
continued on next page
54
MAY 1983
THIS
IS THE
SOUND
OF A
DRUMMER
WHO HAS
BECOME
THE
DRUMMING
“You are attempting to become the
drumming through effort, practice, and
chronological time. You believe it is the
drum authorities that are telling you that
this is the way to go. But, as a matter of
fact, it is specialized aspects of society
and technology that are giving off an
unconscious and inappropriate message
that is confusing both you and the drum
authorities.”
“Through special circumstances I
have come to see that effort, practice,
and time actually builds a wall between
the drummer and the drumming. The
more the task is approached as an act of
will the thicker and taller becomes the
wall. Please, don't believe me. Find out
tor yourself. Just stop the effort and the
practice and if you have talent you will im¬
mediately feel the oneness of the drum¬
mer and the drumming when you play in
public with your group or at home with
the stereo. But there will be a voice inside
your head that talks compulsively telling
you to make the effort. I can help you stop
that voice."
STANLEY SPECTOR
I would like to know more about bow you could
help stop the! voice inside my head. I would like to
know more about how t could benefit in my playing
the drum set through your Innovative teaching and
processes of instruction. Enclosed is a check
money order for ten dollars (SIO. 00) for your in*
Please send payment to
STANLEY SPECTOR
ZOO West 58th Street, Dept. Mfi-43
troductory package of a one hour instructional
cassette, a 20 minute recording with proof ol suc¬
cess, and an extensive 24 page discussion, {Drum¬
mers in foreign countries should add two dollars and
titty cents ($2,50) tor air mall postage and
handling.)
New York, N Y 10019
Marne
Street City State Zip
Country
VALLEY DRUM SHOP
(EVERYTHING FOR THE DRUMMER)
SERVICE • SALES • REPEARLING
Listen to these latest recordings.
Juice Newton, Ambrosia, James Taylor,
Hill Street, Magnum P.I., Chicago,
Jimmy Buffet, Quincy Jones, Geo. Benson,
Dave Mason, just to mention a few of so many.
The snare drum you’re hearing is our
custom maple 7" X 14”, which no one
can duplicate.
We build them for more drummers than
we can keep track of, from session play¬
ers to club and concert players.
We always have sales on new & used
sets, cymbals, stands, pedals, cases &
whatever and stock more parts than anyone.
Let us repearl that old set for a fraction
the cost of a new one. We also build cus¬
tom?" x 14" Fiberglass Snare-Drums.
(213)994-1755
13636 BURBANK BLVD
VAN NUYS, CA 91401
"That's one reason I like working with Ed Mann [Zappa's per¬
cussionist]. He adds colors that I can't add. He really uses what he
has and he never overplays. Since he's got all those orchestral in¬
struments he doesn't have much room left for congas or Latin
stuff, but he does have a lot of real neat colors that most Latin guys
don't even think of. He's got a set of temple blocks and cowbells
that he'll comp on. If we're playing a real 'death-rock' tune he'll
play the back-beats on two Chinese cymbals or a low Syndrum.
Working with Ed is great."
Chad's philosophy, and it seems to be the generally accepted
one, is that the percussionist has to be aware of the drummer more
than the drummer needs to concern himself with the percussionist.
Percussionists are told, "When in doubt lay out," but drummers
learn, "When in doubt play out."
"Of course, the whole thing has to work together," Chad said.
"Usually the drummer's first worry is the bass player. A percus¬
sionist has to have a lot of ability but he also has to know when not
to play. That's real important. On rock 'n' roll things some guys
will be playing conga patterns that are way too busy. If I'm playing
8th notes, the percussionist should realize that the groove is 8th
notes, not 16ths. He should try to fit in with the drummer."
At 22, Chad is the first to admit that he's been very fortunate in
his relatively brief but successful career. Each new job came along
when he needed it and it needed him. As much as he has matured,
he hasn't lost his open and respectful attitude towards people and
music. He's grown, still growing, and frankly there's no telling
which direction he'll go next.
"There are a lot of directions today, though I think the trend is
to be a well-rounded player," he commented. "There are still pu¬
rists in every style and there are a few guys who can do everything.
In the '50s, when rock came in, there were a lot of guys who said,
'This is a fad; don't listen to it.' Where are those guys now? At the
same time there are rock 'n' rollers today who couldn't swing a
monkey. The point is that there's no possible way keeping your
ears open will hurt you."
Attitude aside, there must be some secrets to cutting those tough
auditions. Chad was quick to point out that he's only done three or
four in his entire life. But since he got all four jobs, he must be
doing something right. He offered the following advice:
"Know what to expect and what will be expected of you. Do a
little research to find out who you're auditioning for. Buy a couple
of records and see what the band sounds like. Be familiar with the
style of music you're going to be asked to play. Listen to the re¬
cords and practice.
"Learning to read can't hurt. If there is music, take a couple of
minutes to look it over. If you have any questions, ask.
"I can't say don't be nervous because I'm always nervous at
auditions. All you can do is go in and try to do your best. Bring
your own pedals, seat or cymbals. Do anything you can to make
yourself more comfortable.
"Your first impression is real important, especially on an audi¬
tion. A few guys at the Zappa audition came in with real 'atti¬
tudes.' They said, 'I want this gig for a while, maybe, but you get
sick of it, don't you?' You shouldn't say things like that. If you
don't want the gig, don't take it.
"Listening is the most important thing. Listen to what the rest of
the band is doing. Try to complement that. Of course, that's al¬
ways true but if you can do it at an audition, the people will appre¬
ciate it even more."
It may have been premature to ask Chad what his long-range
goals in drumming are. After all, even though he's old enough to
have a lot of playing behind him, he's young enough to still have
time to decide what he wants to do. When asked, he shrugged his
shoulders, thought for a moment, and then answered.
"I just try to keep going," he said. "I didn't plan to be doing
what I'm doing at any age. I was surprised at every gig. It'd be nice
if this continues. I don't really have a goal other than to keep im¬
proving myself. I've never stopped practicing and I still go out to
hear other players every chance I can. I definitely don't feel like
I've arrived. Not at all. I'm just trying to keep up." ^
56
MAY 1983
The May EA.
It gets into the sound and out
of your way.
Inside the drum.
That’s where the sound ---.l,-
happens. That’s where the
May EA miking system fits.
The first real breakthrough in drum
amplification, the May EA system can be
mounted easily inside any drum, quickly
plugs into live or studio boards. Once
installed, it mikes the internal acoustics
of each drum individually, amplifying
only the drum in which it is mounted, to
eliminate microphone leakage and phase
cancellation. What you hear is what you
feel—pure, unadulterated drum. Nothing
synthetic about it.
Capable of being rotated 180° the
unit allows each drum to be individually
equalized to balance tone and volume, to
let you isolate a wide range of internal
frequencies. You get more sound per
drum. You get total control.
And the May EA
stays out of your way.
It eliminates mike and
boom stands and frees up
the batter head of your drum—frees up
your playing. It cuts way back on set-up
and break-down time, too. You just plug
in and play.
The system that turns on your drum.
■ The specially designed shock mount eliminates mechan¬
ical vibration.
m The external turning knob allows the system to l>e rotated
a full ISO s for proximity effect ,
■ The 3 pin cannon plug connects the unit through a
shielded cable to balance the line out for compatibility
with live or studio boards .
Look for the May EA at your local drum dealer
or contact: May EA, 8312 Seaport Drive,
Huntington Beach, California 92646, Phone
(714) 536-2505.
Listen for the May EA when played Uv these leading artists: Chad Wac Kerman with Crank Zappa Danny Seraphine with Chicago
Carmine Appice with Ted Nugent Joe Lizinra with Johnny Mathis.
The microphone element (a modified SM-57) is manufactured exclusively by SHORE BROTHERS, INC for May EA
May EA is also available through Sllngerland Drum Company on all catalog drums
_ May EA t> protected under t S PiUcm "-f.KVMHO Other l s anti Foreign paten is pending r T
mm
“A DRUMMER WAS THINKING" -.
. about drums, os drummers often do.
He woi thinking about how different the approach to drum sounds was
before the advent of close-miking Aboul the resonance and dynamics you
hear sometimes Oh Oh oid pig band record, when the recording technology
consisted of one distant microphone to pick up the dr u ms (along w.th the bass,
piano, and half of the horns'),
But how exciting if could sound, with drums flat-out. wfcSeyopen, and
undamped, and with all of that ambience around them. Perhaps They were a
bit distant, ond loss than distinct; bui ihore was something about the effect that
was exciting and real
then cume high fidelity, mulft-tracked, stereophonic, condensed,
soparatod, equalized, noise gated, noiso-roducod, aurally awcited-technoiogy.
So-o-o ail the sound engineers jn the world got together in a huge
conspiracy, ond convinced we drummers that the "dead" sound of big thick
drums, de-tu ned heads, and wads of damping was the Only way to get a good
drum sound.
Wb were asked to take Off Our resonating heads, caver our bat ter heads with
tope, gei rid of those over-tones, fill our bass drums with buffalo chips, oil our
bass pedals, ond tape our pttifuily-fhln wallets to the snare drums
On sure, it is true, when a teener is a few feet away overtones and subtle
nuances become part of the overall character and tonality of the drumkiT, but
when a microphone {or a listener f) r$ a few inches away, these things become
difficult and sometimes objectionable.
But what if you don't like dead drums? Whor if you like live drums? Whor if
you like living, breathing, ringing, booming, snapping, crashing drums - the
way they really sound 1
He was Bunking about other wooden instruments, like the acoustic guitar,
or the acoustic violin, where the warmth and Character of the instru merit is
largely determined by ihe thinness and perfect consistency of the wood. So
why shouldn’t thin drum shells sound better than thick ones? And rf you tuned
them carefully, and matte sure the inside of the shell was as perfect as wood
could oe? Why not?
He didn't know.
But the men in the white coats, instead of faking him away, put their heads
tagelher at Tama Drums, and developed a new kind of thinner drumsheil, just
for him they began wilh a basic Blrchwood shell for that traditional warm
sound, sheathed it in an exotic South American hardwood {Cordio) to sharpen
the attack, and ihen added a very rhin lonmnateci sealer to even out any
inconsistencies. Ail of this, ihey thought, should give him that purer and more
resonant tonality he is looking for.
And what do you know? It worked!
The drummer tried out a prototype kit for a solid year of touring and
record'np, and ne was very impressed. {Even if he does say so himself!)
At las? he had killed ihe dead drums, these drums were oil the snapping,
thundering, living animal he had wanted to hear, but they were tome enough
to store down the muzzle of a condensor microphone. Rawness ond
refinement Tradition and technology
isn't it nice once In a while when things turn out the way you hoped
they would?
Neil Peart
New Tama Artstar Set
TAIWA
For the thinking drummer.,,
for a full color cofofog send $2.00 to: tamo. Dept MD, PQt Bo* 6B& Banisnem. Pa 19Q2Q.
P.o tor200<>. IdahoFolis. id.63flOV 17421 "S' fccfiirGaieAve.ptyol indusiry Co 01748
in Canada . 035S Par* Ave MonhoaJP.Q. H2V4M5
by Lee Doland
Accented Press Rolls
The accented press roll, with an underlying 16th-note pulse, is an
excellent addition to any hand-conditioning program, as well as
being a very effective 15- to 30-minute daily warm-up.
Each of the 24 exercises below should be repeated a minimum of
10 times. A short break between each exercise is recommended.
However, consecutive playing of all 24 exercises (10 times each)
would be most beneficial in the development of endurance.
Be sure to play the roll approximately 2" off the drum or pad,
making all accents from a level of 9" to 10". Each exercise should
also be practiced leading with both right and left hands.
Make these exercises a part of your daily practice routine. You'll
be amazed at the results.
J= 112
l . ■ - J J " “ - 1 •— N—^
RLRLRL RLRLRLRLRL
L RLR LRLRLR LRLR LR
m
R L R L
L R L R
R L R L
L R L R
.1 . ■ , i . i
, t t^ „ i^ g. ^
d i ^ i
6 f=r-,r-.
l l J- J-
fry j -t
0 0 W 0 0 0
0
■
* T f
■T n T ■T ■
s i m m:.
M IZiTl. A . M
W
= £
' 9 S 9 ~9 9 9 9 9
A 9 A
# # p
# ^ * 9
^ w w w ww ^w w w
A
--w< W WW- WWW W iA
■w'-tJ-l
R
7
8
1* *
■“P
.
■—*
*-
1
'-f
*—pi
*—0
--J
f—*
" *
I - —pi
*— p
Hi
* —
■
I* 9
A
A
A
A
A
A
A
‘ #
*
1
9
' ~M
" A
: 9
9
' 9
A
. 9
' 9
9
9
9
■
I
__' *_F- ‘W %_F^ W**" r <1_^*1_F* 1_ m
1
1
1
I
60
MAY 1983
NTRYMfinTAjSOCIATES^NC
4T7 STANFORD m/E^-REDWOOD ClTY^CA,
CALL US—
TOLL FREE!
1-800-323-1717
Operator #120
FOR A
SUBSCRIPTION TO
MODeRfl ’
DRummeR
Illinois residents
call:
800-942-8881
No Foreign Orders
rue MANee me
tAt'im *(ivt M4V 1 ™
ISOMAX PRO-B
FIGURE EIGHT
GETS TWO TOMS
ON ONE MIC..
REJECTS CYMBOL
AND SNARE!
OpUMS COURTESY
OF LEO'S MUSIC
OAKLAND, CALIF,
MAY 1983
61
by Roy Bums
Hfl
m
.M
J 1.
Buddy Rich has been a famous drummer
for as long as I can remember. I first heard
him on records in the early '40s when I was
around seven years old. I met Buddy in
person in New York City when I was in my
20's.
Buddy's career has spanned more dec¬
ades than any other drummer in history.
And, he didn't just survive, he has always
been at the top. The mental attitudes
needed for such a tremendous career could
help all of us.
Buddy can be startingly honest about
himself and others. He shoots from the hip
verbally. He says what is on his mind.
Some of what he says I agree with and
some of what he says I don't. No matter—
this column is not about any of that.
Buddy has always been dedicated to do¬
ing his very best. He has always tried ex¬
tremely hard to play his best. In spite of
health problems, career problems, money
problems, family problems (which we all
have from time to time), he always played
great.
CARMINE APPICE
AND
MODEL NO. 6
,J S*t PEDAL PRACTICE PADS
Ralph C Pace
■o* 63, CA. North Whffa Plaint, N T 10603
Buddy
Dedication to
I've worked opposite him in a number of
clubs and have seen him play in a variety of
situations. He has a volatile personality
and when things aren't going well he will
definitely speak his mind. I have seen him
refuse to play and walk off the stage. How¬
ever, when he decided to play he always
gave it his best, and his best is great indeed.
Less hardy souls or less dedicated ones
might have given up drumming in light of
his earlier heart problems. And then there
was the trouble with his back. I've seen
him play with such pain that he could not
play the hi-hat with his left foot. However,
no one in the audience knew it. He played
great. He overcame the pain.
Buddy personifies dedication, persever¬
ance, determination and a desire to get the
most out of himself and those around him.
He sets a high standard and has been
known to be impatient with others. He can
also be impatient with himself.
I can't say that I know Buddy extremely
well—I don't. However, I know that the
attitudes he exemplifies can help all drum¬
mers develop their own potential more
fully. The following ideas are not theories.
They are based on my friendship with him
and my observations of Buddy in action.
1. Strive to be the best you can be. You
may not have the talent to be a Buddy
Rich, but you can be your best. Give it all
you've got.
2. Play the way you feel like playing;
don't worry about what people say. Some
will like it, some won't. Play your best for
the people who do like you. Let the others
worry about themselves.
3. Don't get discouraged. Bounce back
and keep bouncing back. Perseverance has
many rewards. Remember, the more you
bounce back the stronger you get.
4. Keep developing. Buddy never
changed his style. However, he continued
Rich:
Excellence
to grow and develop his own point of view.
Continual development is a side benefit of
not giving up.
5. Don't live in the past. Buddy's cur¬
rent big band never sounds like the '40s
and neither does he. He seeks new arrang¬
ers, new music and never looks back. He
keeps moving.
6. Believe in yourself. If you are not a
genius (as few of us actually are), believe in
your ability to improve. Keep believing
and learning all your life. We can always
do better.
7. Work hard! Buddy once said to me,
referring to hard swing, "If you ain't
sweating it ain't happening." You must
make the effort.
8. Seek out good people to play with.
Buddy always looked to play with the best
people around.
9. Don't make excuses. If Buddy felt he
didn't play well, he would be the first to say
so. He also knew when he was on.
10. Dedicate yourself to excellence in
whatever you do. Buddy has made the
comment, "When I play, I play!"
To me, that means total concentration.
Give it 100% or don't bother. If you play
weekends, give each weekend all you've
got. Make it a total effort. If you are a
drum teacher, dedicate yourself to contin¬
ual learning so your teaching will remain
meaningful.
It also suggests the old adage, "If a thing
is worth doing, it is worth doing well." In
fact, it is worth your very best effort.
These attitudes are things that we can all
learn from Buddy. Whether you are a
Buddy Rich fan or not, real work and real
accomplishments must be respected. The
length of Buddy's career should be proof
enough that he has demonstrated over and
over his unswerving desire to do his best.
Buddy's dedication to excellence is a les¬
son for all of us. It has been a great lesson
for me.
DRUMMERS* DRUM RECOVERING KITS
AVAILABLE. Over 25 chorees of Pearls,
Sparkles, Satin Flames and Wood grains
Send $1 00 for full information and samples
{refundable on first order) PRECISION
DRUM COMPANY, Dept. C n 151 Califor¬
nia Road; Yorktown Heights, N.Y. 10598
62
MAY 1983
A drummer's hands ...
His most prized possession
To insure the ultimate in creative
achievement, a drummer must have at his
fingertips the finest equipment available.
Put your ^
percussion
needs
in
the hands
of the
Professionals
THE
PERCUSSION PEOPLE
156 W. 48th St.
n.Y., N.Y. 10036
(212) 819-0577
by Bob Saydlowski, Jr.
A 1ode(5
Set-The-Pace
Practice Pads
In the July '82 issue of MD, I reviewed
practice pad kits by three manufacturers.
These were actually practice drumsets, as
they all used a drum head as their playing
surface. Ralph Pace's models are true
practice pad kits, using a wooden base and
rubber surface. He currently has 28 kit
models as well as 13 other special-purpose
pads—all hand-made.
Pure tan gum rubber is used for the play¬
ing surface, which can range from 6" to
16" in diameter. The pad bases are poplar,
plywood discs with a wooden post on the
bottom. This mount post has five holes and
attaches via a wing bolt and curved washer
through one hole. For extra stability, small
screws are provided which can be counter¬
sunk into an additional hole. All parts are
finished in polyurethane varnish.
All kit models include a square particle¬
board base. An upright bass drum post
screws into the baseboard and has a brace
on the back. The base drum pad is a square
piece of thick, cushioned rubber, tacked
onto the wooden post. At the bottom of
the post is a steel plate for pedal mount¬
ing. It's adjustable to accommodate most
pedals.
The baseboard also serves as a platform
for all other pad mounts. The snare and
floor tom pads are on separate, fixed
wooden posts, which are screwed into the
baseboard. These posts are actually two-
piece. Another wood post mounts on the
side of the fixed post, and this is where the
pad attaches. This adjustable post has
holes which allow the post to be adjusted
for height and forward tilt. The pads can
also tilt towards the player due to their
swivel-type mount, but distance between
the two is fixed. The posts may also be
strengthened by adding countersunk
screws.
The tom-tom and/or ride cymbal pads
are mounted on wood crossbars which at¬
tach to the backside of the bass drum post.
The bars are adjustable for spread and
height. The top of each crossbar is cut at an
angle to allow proper pad mounting. Pace
attaches sandpaper strips to the angle cut
to give a better grip. One of the crosspieces
is longer than the other to allow for mak¬
ing the right tom into a ride cymbal. The
two mounted pads can be tilted towards
the player, but not towards each other.
The same goes for the snare and floor tom.
Pace's Model #5 Pro Standard dupli¬
cates a five drum set-up and is comprised
of two 13" pads for snare and floor tom
and two 11" pads for the left and right
toms. The bass drum post is made of a
thick 3 1/2" x 4" rubber block. The base¬
board measures 20" x 14". Retail $120.00
The Model #6 Pro Standard is a double
bass set-up utilizing a larger baseboard,
two separate bass drum posts with one
tom-tom pad mounted on each post and
separate snare and floor tom posts. Dis¬
tances between the two bass drum posts, as
well as between the snare and floor tom,
are fixed, but one could customize the set
by drilling new holes for different post
placements. Retail: $135.00.
All of Ralph Pace's practice sets can be
ordered with a Circular Heavy Duty Bass
Drum Pad affixed to the upright post. This
pad is a 17" diameter piece of plywood
with the rubber block attached. A plastic
molding surrounds the edge of the pad,
giving it a more realistic bass drum appear¬
ance.
Pace also offers Deluxe Heavy Duty
models. The swivel base under each ply¬
wood pad disc is twice the size of the
Standard models. There is a formica piece
between the rubber and the wood to fur¬
ther reduce sound. The wood discs them¬
selves are 3/4" thick and all pads have plas¬
tic edge moldings.
Also available are Double-Mount-Re¬
versible models. Pace's idea of a reversible
pad allows for the playing surface to be de¬
tached from the pad mount, leaving one
disc base still on the pad set. Each pad has
two plywood bases. The pad surface which
was removed can be placed on your drum-
set for practicing. Basically, two sets of
pads are available with the double-mount-
reversible system.
A special, brush playing surface pad can
be ordered to replace the regular snare
drum pad on any set model. The surface is
textured formica and gives quite a different
sound. The surface is ideal for practicing
with brushes.
Two student models are made in four-
and five-piece set-ups. They have 6" rubber
pads mounted on hexagonal wood bases.
The same mounting idea applies. These
models are the lowest price of all manufac¬
turers, retailing at only $65.00 (Model #4)
and $75.00 (Model 4T).
All pad models are very quiet and have a
solid sound and feel. I found the toms all
have some sort of inherent pitch. As you
go around the set, the pitch of each pad
lowers, just like drums on a regular kit.
The snare pad is quieter than the toms due
to its 1/4" rubber, as compared to 3/16" on
the tom-tom surfaces.
Besides practice pad sets, Ralph Pace
has various other pads to offer: The Model
#7 is simply the bass drum upright post and
baseboard from a pad set. This model
could be helpful for the student who al¬
ready has a practice pad and stand, but
needs something to duplicate a bass drum.
Retail: $15.00.
For those who want to practice on their
own drumset, the Model #8 Pro Silent Bass
Drum Practice Pad fits onto the batter
head. The same square rubber cushion that
is used on the pad kits is used here and
mounted on an 8 1/2" wide piece of ply¬
wood which spans the height of the drum.
It's held on by the drum pedal at the bot¬
tom, and at the top by any standard cow¬
bell holder clamp. A set screw is provided
for more secure anchoring, if needed.
$15.00.
For the rest of your drumset, various
sized 3/4" thick pads will fit atop the batter
heads. These have the plastic edge mold¬
ing, and are designed for the drummer
with a kit set up for practice, who requires
64
MAY 1983
minimum of noise. The pads are available
in 12" to 16" diameters and can also be
used as stand-mounted practice pads. Var¬
iations of Model #14, the 14" pad, give dif¬
ferent pitches and volumes depending on
the thickness of the rubber used. $ 10.00 to
$ 20 . 00 .
The right tom on any of the pad kits may
be replaced with a ride cymbal pad, which
uses thinner rubber and a thinner base than
the drum pads. But, if you want to use
your own cymbals, Pace has silencers for
ride cymbals and hi-hats. Both are made of
thin, floppy black rubber. The ride cymbal
silencer has a large hole cut out to fit over
the cymbal, leaving the bell exposed and is
held on with metal spring clips. The pad
totally deadens the cymbal, but gives am¬
ple stick rebound for fast patterns. The hi-
hat silencer fits on the top rod of your hi-
hat stand and is placed between the two
cymbals. When playing the hi-hat with
your foot, this pad deadens the "chick,"
making the hi-hat practically soundless.
The hi-hat silencer is available in 12" to 15"
diameters and retails at $8.00. The ride
cymbal model is available for cymbals 16"
to 22". Retail $9.00.
Ralph Pace was first on the scene with
practice pad sets and offers the largest se¬
lection by far. All models are made to or¬
der, handmade by Ralph himself.
Most models come fully assembled. The
large playing surfaces give a great drumset
simulation. While perhaps not as compact
and portable as the Remo, Calato, and
Pearl pads, Ralph Pace's practice pad sets
offer good quality, silent sound, and best
of all in today's economy, down-to-earth
prices.
All models are available direct, or can be
found in select music shops. For more in¬
formation: Ralph C. Pace, Box 63, North
White Plains, NY 10603. m
Cotton
machine
washable
T-Shirts
blue with
navy trim
MD logo.
Handsome
completely
adjustable
(one size
MAIL TO:
MODERN DRUMMER
PRODUCTS DIVISION
1000 Clifton Ave. a
Clifton, NJ
MODemi
DRummen
T-SHIRT
and Matching Rehearsal Cap
ENCLOSE
CHECK
OR
MONEY ORDER
FOR
TOTAL
AMOUNT
{NO CASH)
ALLOW 4-6
WEEKS
FOR
DELIVERY
ITEMS MAY
BE SHIPPED
SEPARATELY
r mj
ALL CHECKS
PAYABLE IN
U,S. FUNDS
MAY 1983
1 MANUFACTURER
MODEL
TYPE
LEG
BRACING
TILTER
#OF
ADJ. TIERS
MEMORY
LOCKS?
PRICE
1 CB-700
7209
boom
double
ratchet
1
No
$ 89.50 |
7210
straight
double
ratchet
2
No
$ 69.50
5209
boom
double
ratchet
1
No
$ 48.50
4209
boom
single
ratchet
1
No
$ 39.50
5210
straight
double
ratchet
2
No
$ 36.50
4210
straight
single
ratchet
2
No
$31.50
3210
straight
single
U-plate
2
No
$21.50 |
f CORDER
CS403
boom
double
rotor
2
No
$ 79.50 1
CS401
straight
double
rotor
3
No
$ 69.50 |
COSMIC
CP310
straight
single
ratchet
2
No
$ 39.50
PERCUSSION
CP310A
straight
double
ratchet
2
Yes
$ 62.50
CP311
boom
single
ratchet
1
No
$ 47.50
CP312
boom
double
ratchet
2
Yes
$ 74.50
CP313
telesc. boom
double
ratchet
1
Yes
$ 87.50
CP314
half boom
double
ratchet
1
Yes
$ 64.50 |
GRETSCH
4850
straight
double
ratchet
2
No
$ 80.00 1
4852
boom
double
ratchet
1
No
$ 94.00
4853
half boom
double
ratchet
1
No
$ 90.00
4854
telesc. boom
double
ratchet
1
Yes
$120.00
Blackhawk
straight
double
ratchet
No
$ 74.50 |
1 LUDWIG
1406
straight
tubular
ratchet
2
Optional
$ 90.00 |
1411
telesc. boom
tubular
ratchet
1
Optional
$120.00
1400
straight
single*
ratchet
2
No
$ 55.00 |
[ PEARL
C900W
straight
double
rotor
2
No
$ 83.00 |
C800W
straight
double
rotor
2
No
$ 78.00
C-800
straight
single
rotor
2
No
$ 67.00
C-700
straight
single
ratchet
2
No
$51.00
B900WL
boom
double
rotor
2
No
$108.00
B900W
boom
double
rotor
2
No
$105.00
B800W
boom
double
rotor
2
No
$ 93.00
B-800
boom
single
rotor
2
No
$ 82.00
B-700
boom
single
ratchet
1
No
$ 56.00
ROGERS
542002
straight
single*
ratchet
3
Yes
$ 59.50
542001
straight
double
ratchet
3
Yes
$ 59.50
562105
boom arm only
—
ratchet
—
No
$ 39.50
411328
straight
double
2
Yes
$ 52.50
411355
telesc. boom
double
1
Yes
$ 66.00
411321
straight
single
2
No
$ 30.00 |
1 HOHNER
A-110
straight
single
ratchet
2
No
$ 39.50 |
A-120
boom
single
ratchet
2
No
$ 69.50
ARMEN *
SOLID BAR CHIMES
Pal No 258 BOS
Buy Direct from Manufacturer
* Hand Crafted from Quality Maienals
* Projects a Full Clear Sound (3 Octaves )
* Design Eliminates Excessive Ringing,
* Brass Mallei Included with all Models
Send Check or Money Order (Postage Patti} DBA LEGS
ARMEN PERCUSSION CONCEPTS welcome
1 Pelham Plaoe * Bergenfield, N.J. 07621
DIALA-DRUM
presented by
Chef Doboe
(516)292-0838
Call today to hear
hot drum ideas used
by the Greats!
fourth annual
Jazz Drumming Workshop
June 13 ■ IB, 1983
Onto University, Athens, OH
FULLTIME STAFF;
ED SOPH, Yomota C^nf-c/an
Bob Breithaupf, Capital LL
Guy Remonko, Qhto U.
m Private ie$<oni
• Coordination, style end technique seminars
{intermediate and advanced levels)
• Solo techniques
• University credit [grad and undergroduote]
• Much, much mare
Minimum age: 15
Far further information, contact:
Jgi t Drumming Workshop, School of Music
Qhio Uni vers Hy. Athens OH 45701
(614) 594 - 6656
66
MAY 1983
MANUFACTURER
MODEL
TYPE
LEG
BRACING
TILTER
#OF
ADJ. TIERS
MEMORY
PRICE
SLINGERLAND
1951
straight
double
ratchet
2
Yes
$135.00
1952
boom
double
ratchet
1
Yes
$140.00
1953
boom
double
ratchet
2
Yes
$145.00
1588
straight
single
ratchet
2
No
$ 70.00
1587
boom
single
ratchet
1
No
$ 80.00
88
boom
tubular
rotor
2
No
$115.00
87
straight
tubular
rotor
2
No
$ 94.00
33
straight
single*
ratchet
2
No
$ 54.00
SONOR
Z5270
straight
double
ratchet
2
No
$124.50
Z5272
straight
single
ratchet
2
No
$ 85.00
Z5280
straight*
double
ratchet
3
Yes
$260.00
Z5278
double boom
double
ratchet
1
No
$220.00
Z5273
boom arm only
— --
ratchet
1
—
$ 55.00
Z5281
boom arm only
——
ratchet
1
—
$ 70.00
TAMA
6892
straight
double
ratchet
2
No
$ 80.00
6893
boom
double
ratchet
1
No
$ 95.00
6894
boom
double
ratchet
1
No
$103.00
6904
telesc. boom
double
ratchet
1
Yes
$120.00
6922
straight
cast U*
ratchet
2
No
$ 97.00
6924
boom
cast U*
ratchet
1
No
$120.00
6872
straight
single
ratchet
2
No
$ 69.00
6874
boom
sinqle
ratchet
1
No
$ 83.00 I
I YAMAHA
CS912
boom
double
ratchet
2
No
$115.00 |
CS910
straight
double
ratchet
2
No
$ 90.00 |
CS712
boom
single
ratchet
2
No
$ 90.00 |
CS710
straight
single
ratchet
2
No
$ 70.00 |
CS520
straight
single
ratchet
2
No
$ 50.00 |
PREMIER
PD324
straight*
cast U
ratchet
2
No
$ 92.00 I
PD324T
boom*
cast U
ratchet
2
No
$125.00 |
PD314
straight
tubular*
ratchet
2
No
$ 70.00 |
PD314T
boom
tubular*
ratchet
2
No
$113.00 1
PD304
straight
double
ratchet
2
No
$ 80.00 1
PD304T
boom
double
ratchet
2
No
$103.00 1
PD1324
straight
single
ratchet
1
Yes
$ 60.00 |
PD1324T
booni
sinqle
ratchet
1
Yes
$ 79.00 1
I NORTH
C-20
straight
double
ratchet
2
No
$69.50 I
C-21
half boom
double
ratchet
1
No
$ 79.50 1
C-22
boom
double
ratchet
1
No
$ 82.50 I
I DRAGON
DBS200
telesc. boom
double
ratchet
1
No
$ 73.00 1
MODIFICATIONS
and
ACCESSORIES
for
SIMMONS
S.D.S.5.
ELECTRONIC DRUMS
312-833-7511
John Crocken's DRUM CHART
A tangle 32 paqe Text On the OfiI nnayt to not* tP 4n(J fMd 'tiirtit
Tor ihtdrurr itt mdijjJrd are the ji ' fill*" and the 10 moit
riTpotfant Latin rHythmj, itylei, hcni* to jvr pagp tornt i j, Tft , n ivr
ty, bf.Jihpt, and Ttia notation q* rollv The Jd// LAtiri rhvlhin
ilan# i* rtont’ the pnte of the b-ook
N^Ct MOO Pfraie induide $T 00 *ur Jnd Frffitfhfrfj
John Crocked, J C A Drum Vhop
JB10 fielair Road. Baltimore MD 21Z36
vmIJIm.
798 N WOODWARD AVE
BIRMINGHAM, Ml 48011
Michigan '$ newest and most complete
percussion facility
featuring a full library of percussion music
(313) 644-6636
Norm Fickett Sam Tundo
P.M.I. ’83
MUSICAL INSTRUMENT
CATALOG
America'* most complete source
_^ of major brand instruments end
accessories at low low prices. Send $3 U.S.,
$4 foreign (credited on first purchase} to;
Dept. MD, P.O. Bo* 827, Union
City. New Jersey 07087
The complete
music store
in your
mail box
Send S1 00
for catalog
applied to
first order
DRUMS and more
Fire* Stage Effects* Disco Lights* Fog
Machines* Stage Lighting designed for
musicians i44DWotiHiiiRd
Melville
NewVork. 11747
ILtrfUI HI M(
MAY 1983
67
jtsi
Columbia Contemporary Masters
VARIOUS ARTISTS — New¬
port Jazz Festival: Live. Co¬
lumbia C2-38262
BENNY GOODMAN—Seven
Come Eleven. Columbia FC-
38265
STAN GETZ—The Master.
FC 38272
VARIOUS ARTISTS — They
All Played Bebop. C2-38039
These 12 releases under Colum¬
bia's Contemporary Masters
Series are truly remarkable. It's
a significant collection in many
respects. Any jazz buff will be
familiar with the names of the
artists. But, Columbia has
served up significant portions
of previously unreleased mate¬
rial by these masters, that
serves to fill historical/musical
voids, and from a drummer's
perspective we have an almost
complete chronological listen¬
ing experience of many first-
class jazz drummers. Space for¬
bids giving just attention to
these records, but we did want
to highlight some of the drum¬
mers featured on each album.
Newport Jazz Festival: Live
was recorded in '56, '58 and
'63, and features Sonny Greer,
Sam Woodyard, Roy Burns,
Roy Haynes, Jo Jones, Joe
Morello, Jimmy Cobb, Frankie
Dunlop, Louis Hayes and
David Bailey with bands such
as Louis Armstrong's All-
Stars, Duke Ellington's Or¬
chestra, The Newport Jazz Fes¬
ORNETTE COLEMAN—
Broken Shadows. FC-38029
tival House Band, The Dave
Brubeck Quartet, The Miles
Davis Quintet and the Gerry
Mulligan Quartet. A terrific
way to familiarize yourself with
classic jazz drumming styles
from many eras.
Benny Goodman's Seven
Come Eleven was recorded in
1975. "Here is Benny Good¬
man the way he sounds today
. . . more or less." Drummer
Grady Tate does a fine job in
quintet, sextet and octet set¬
tings, swinging Goodman clas¬
sics like "Seven Come Eleven,"
and more current popular tunes
like "Send In The Clowns."
Getz's The Master is previ¬
ously unreleased material re¬
corded in 1975, with Billy Hart
on drums, Albert Dailey on pi¬
ano, Clint Houston on bass and
Getz on tenor sax. Billy Hart—
like all the musicians on the
date—plays excellently on these
extended cuts.
They All Played Bebop
should be in every drummer's
library. This album features
drummers Jo Jones, Osie John¬
DUKE ELLINGTON —The
Girl’s Suite And The Perfume
Suite. FC-38028
son, Elvin Jones, Philly Joe
Jones, Albert Heath, Mel
Lewis, Jimmy Wormworth, A1
Foster, Mickey Roker and Le¬
roy Williams, in small group
settings with master piano play¬
ers in the bebop tradition. Ray
Bryant, Hank Jones, Tommy
Flanagan, Red Garland, Cedar
Walton, John Lewis, A1 Haig,
Barry Harris and Walter
Bishop, Jr. are some of the pi¬
anists on this album. An excel¬
lent audio lesson in the art of
accompaniment with drumset.
Recorded from 1955 to 1977.
Art Blakey is a tiger! He and
The Jazz Messengers smoke,
burn and finally explode on
Originally. This album was
done in '56 with the original
band and the next variation,
featuring Donald Byrd and Bill
Hardman on trumpets, Hank
Mobley and Ira Sullivan on
reeds, Wilbur Ware, Spanky
DeBrest and Doug Watkins on
bass, and Horace Silver, Kenny
Drew and Sam Dockery on pi¬
ano. Pay close attention to the
rhythmic left hand of Horace
ROY ELDRIDGE — The Early
Years. C2-38033
Silver for a lesson on how to
drive a band.
Art Farmer's quintet on The
Time And The Place was a
short-lived but superb band
featuring Mickey Roker on
drums, Jimmy Heath on tenor
sax, Cedar Walton on piano,
Walter Booker on bass, and
Farmer on trumpet and fluegel-
horn. This album was recorded
live in 1967 and serves as a bril¬
liant introduction to Mickey
Roker. Roker is a true musi¬
cian/drummer who can do any¬
thing, anytime, anywhere.
Drummers Ed Blackwell and
Billy Higgins rip it up on Or¬
nette Coleman's Broken
Shadows. On most cuts the
drummers play individually,
but on "Happy House" they're
together; perhaps the model for
two drummers playing jazz. All
of these tracks are released for
the first time on this album and
"... presents a wide-angle
view of Coleman's music,
played by the men who know it
best."
Duke Ellington's The Girl’s
THELONIOUS MONK — Live
At The Jazz Workshop. C2-
38269
68
MAY 1983
Series
ART BLAKEY— Originally.
FC-38036
Suite And The Perfume Suite
". . . contains two suites, one
often played in public [The Per¬
fume Suite], the other never
heard in its entirety outside the
recording studio." Both suites
were recorded in 1961 with Sam
Woodyard on drums. Wood-
yard's drums sound fantastic
and his contribution to El¬
lington's band deserves to be
studied.
Drummers and trumpet play¬
ers have always had an affinity
for one another. There's little
that can top a hot drummer/
hot trumpeter combination.
Roy Eldridge is one of the all-
time best hot trumpet men. The
Early Years features Roy
Eldridge with Teddy Hill & His
Orchestra, Teddy Wilson & His
Orchestra, Mildred Bailey &
Her Orchestra, Gene Krupa &
His Orchestra and Roy
Eldridge with his own orches¬
tra. An excellent swing-style
drummer himself—in fact, Roy
would often take over the drum
chair in Gene Krupa's band—
Roy is heard in big bands with
THELONIOUS MONK —Live
AtTheltCluh. C2-38030
ART FARMER —The Time
And The Place. C2-38232
Bill Season, Zutty Singleton,
Cozy Cole and Gene Krupa on
drums. Buy it!
Live At The Jazz Workshop
and Live At The It Club feature
Monk's Quartet with Charlie
Rouse on tenor sax, Larry
Gales on bass, and Ben Riley on
drums. We don't know if it's
possible to consider yourself a
jazz musician if you aren't at
least familiar with Monk's mu¬
sic. Ben Riley plays sensational.
He's superb as an accompanist
and a first-class soloist. Monk's
tunes seem to have a magic ef¬
fect on drummers.
Finally, Live At The Plugged
Nickel features the classic Miles
Davis quintet with Ron Carter,
Herbie Hancock, Wayne
Shorter and Tony Williams.
Tony Williams is always worth
listening to. This 1965 record¬
ing has been available as a Jap¬
anese import, but this is its first
release in the States. One more
log on the Tony Williams fire;
one more record to marvel at;
one more awesome session
from an awesome band. m
MILES DAVIS —Live At The
Plugged Nickel. C2-38266
Regal Tip
%
Best Sticks in the World.
Go get ’em.
by
Calato
Send for
free
catalog:
Calato, Dept. MD
4501 Hyde Park Blvd.,
Niagara Falla, N,Y. 14305 (716) 285-3546
DRUMMERS
The SERIOUS minded Drummer
Requires a FREE mind to
Practice and Create.
The RESONANT hickory drum
sticks, with their NON-SLIP Gum
Rubber Grip—is the answer to
this quest.
Beautiful, Comfortable &
Responsive. They become like a
part of you.
Try Them—You’ll like em.
Available 2B, 5B, 5A, 7A, Jazz. Wood or
Nylon Tip. Also Rock & Roll Knockers with
grip.
$7.00 pr. plus $1.00 postage & handling.
{Dealers Write)
RESONANT DRUM STICKS
1022 West 210th Street
Torrance, CA 90502
MAY 1983
69
JMMW
Kenwood
At the age of 25, Ken wood Dennard is in a
position many drummers would envy. For
the past two years he has been playing in
one of the top groups in the world, Man¬
hattan Transfer. Previously, Kenwood
had stints with Dizzy Gillespie and Brand
X.
In addition to his work with Manhattan
Transfer, Kenwood is busy with his solo
act, drum clinics, composing and his own
record company, Unisphere Records.
MD: What got you interested in the
drums?
KD: I was inspired by another drummer I
saw in an outdoor program around the
Lower East Side. He was about ten years
old and was really wailing. I was eight or
nine and I said to myself, "I could do that
too."
MD: Once you became involved with the
drums what kind of music did you play?
KD: Once I got involved in music, I felt
Motown was what was happening. I lis¬
tened to whatever was on the radio in the
early '60s: the Beatles, Frankie Lyman,
Frankie Avalon, Beach Boys, James
Brown, the Four Seasons and so on. Those
were the things I was listening to, but I
didn't necessarily feel that they fit my style.
Many of the drum tracks were just part of
the whole music and they were not some¬
thing that I would particularly focus on.
For example, with the Beach Boys it would
have been a case of the drums detracting
from the music. You wouldn't want a
drum track to get in the way of all that har¬
mony. Same thing with the Transfer on a
song like, "A Nightingale Sang in Berkley
Square."
MD: Did you take lessons?
KD: Yeah. I studied with a cat named Wil¬
lie Kesseler, who was an old-fashioned
player. He used to do stuff with Cozy Cole
and I think he's still around. He's a great
teacher, a very unorthodox cat, but he got
thejob done and I learned a lot. He used to
sit me down and play rhythms and I'd copy
them. We would also trade fours. I was
eight or nine at the time and he thought it
was a big thing. He used to call people into
the room and say, "Yeah, check out my
student." In fact, I even taped some les¬
sons on a little recorder. I don't know what
happened to them.
MD: Was that your first formal instruc¬
tion?
KD: Yeah. I started really early. The point
to be made is that this was good, but it was
only one part of my experience. I had to
open up and listen to some cats who were a
little hipper for my time, compared to the
swing era.
MD: You mean more of a bebop style?
KD: Yeah. I got into Tony Williams and a
number of other people.
MD: What music school did you go to and
why did you choose that particular school?
KD: I went first to the Manhattan School
of Music, prep department and then to the
Manhattan School of Music. It should be
noted that I began to explore other styles
and got hip to Elvin Jones and started get¬
ting more into jazz. Before that, I was
studying in a more old-fashioned vein with
Willie.
MD: What other schooling did you have?
KD: While in the prep department I was
also taking private lessons with Charlie Si¬
mon, who later did The Wiz and who has
the Harlem Bell Choir, which is beautiful.
I saw them on T.V. two years ago when I
was in Europe with Manhattan Transfer.
He was great. He got me more into sight
reading. He was a strict disciplinarian with
a good sense of humor. Later, I went to
Berklee because I dug the brochure. My
mother wanted me to go to Julliard be¬
cause that's where she went.
MD: Who were some of the teachers who
inspired you at Berklee?
KD: Gary Burton, Alan Dawson and Herb
Pomeroy. Burton was inspiring because he
was so methodical. I learned a lot about
vibes from him and a lot about the theory
of improvisation.
MD: Besides playing with Manhattan
Transfer you have a solo act in which you
play drums, keyboards and sing at the
same time. Tell us more about that.
KD: That's my secret weapon; my ace in
the hole. That's an "in-the-basement"
type of thing. I've been doing it for quite
some time, but I want to perfect it to a level
of excellence.
MD: How long have you been playing the
keyboards?
KD: Since the age of eight.
MD: Did your mother want you to take up
the piano?
KD: Sure. My major at Berklee was com¬
position.
MD: Do you find playing the keyboards
and singing helps your drumming, and vice
versa?
KD: Both playing the piano and singing
help one's drumming. You don't have to
be a virtuoso, but it's good to sing if you're
a drummer. Alan Dawson used to have me
do that. He has his students sing in particu¬
lar forms while taking drum solos. It's real
helpful.
MD: What do you mean by forms?
KD: Well a form is a musical shape or out¬
line to a piece. Now there are different
types of forms, such as AABA. It's good
for drummers to learn forms and singing is
one way of doing it. If you're following the
melody, you're following the form.
MD: What has playing with the Manhat¬
tan Transfer done to make you a better
musician?
KD: Put me under pressure, especially in
relation to time.
MD: Did you have to make any kind of
adjustments when you started playing with
Manhattan Transfer?
KD: This is the first time I've worked with
a four-piece singing group. There were
some technical adjustments. They use a lot
of backbeats and stuff. I began riding with
the traditional grip with my left hand on
the hi-hat and playing the backbeats with
my right hand using the butt end of the
stick. That's the "hinge technique."
MD: Was it hard for you to change over?
KD: I assume you mean from right-hand
ride to left-hand ride. The "hinge tech¬
nique" was developed specifically for this.
The left-hand ride I developed while teach¬
ing at Drummer's Collective. Everything I
taught students, I taught myself. It took
me about a year to develop it.
70
MAY 1983
by Ronald Hayek & David Corsi
Dennard
MD: Playing with Manhattan Transfer
gives you the chance to play many styles.
KD: Yes. I get to use a lot of different styles
and it affords me the opportunity to have
some input into the music. No one can
think of everything so, obviously, if I come
up with an idea and it's good and everyone
digs it, it's used.
It's interesting because you have to be
real precise and consistent. The beats that I
play are beats that have evolved over the
past two years. It gradually changes. You
cannot play one thing tonight, something
different the next night and something else
the night after.
MD: What kind of equipment do you use?
KD: My set contains various brands. I use
different drums and piece them together
into different sets.
MD: What about your cymbal set-up?
KD: I use a 16" swish, which I've never
seen on the market but they'll probably
come out with one. They're good for a
quick attack.
MD: A. Zildjian?
KD: Yeah, Zildjian. I use a brilliant ride
cymbal. I got the idea from Lenny White.
It's a nice heavy cymbal with a big bell. I
also have an upside-down stage knocker. I
use Zildjian heavy hi-hats, a brilliant crash
16", and 17" and 18" crashes on my left
side.
MD: Do you use any special recording
techniques in the studio and do you have a
lot to say about your miking set-up?
KD: Yeah, as a matter of fact. When I've
been in the studio it's mainly been with the
projects that I'm co-producing or that are
being done with close friends of mine. I use
the same engineer, Tony Rodriguez, and
so I have input into the mic' set-up. For
different styles I use different techniques.
For example, the drum set-up I had with
the Transfer at the Garden State Arts Cen¬
ter utilized four tracks; one for the bass
drum, one for the snare drum, one for the
tom-toms and the cymbals. I put a mic' on
the floor in front of the bass drum.
MD: Playing live, would you use a differ¬
ent set-up depending on the size of the
hall?
KD: With the Transfer, Dan Castings does
the miking so it's pretty consistent from
night to night. I guess he operates his
equipment differently in different halls but
the equipment and the miking remain the
same.
In terms of whether or not there's a spe¬
cific studio technique, you just have to be
very aware of what you are playing and
take every situation as it comes, realizing
that everything you play is indelibly
pressed on tape. So you have to be on top,
as time is very important in the studio.
Padding is very important. Engineers
are helped greatly if they have a cat who
knows what he's doing; knows how to
muffle his drums. It saves a lot of time.
In Japan I learned a technique for muf¬
fling. Take two strips of tape—one about
three inches long, the other about five
inches long. Then, take some tissue and
fold it to make a two-and-a-half inch
square. Put the three-inch tape on top and
then put the five-inch tape a little further
back. It works really well for all the drums,
except of course the bass drum where you
use pillows or bean bags.
MD: You do a lot of drum clinics. Can you
compare drum clinics and private instruc¬
tion?
KD: A drummer can gain a lot from the
clinics and get a lot from private lessons.
Most people prefer private lessons. One
thing a clinic can do is offer input from
peers, which private lessons can't. There
are a lot of different ideas flying around at
clinics.
With small clinics, I have personal input
into everyone in the class. They can sit
down and play and I can teach them as if it
was a private lesson. Bigger clinics are
more like a demonstration where you go
and play, explain what you did, and an¬
swer questions.
MD: What techniques do you concentrate
on with your students?
KD: That depends on the individual who
comes in for the lesson. I concentrate first
on rhythms and take it from there. I have
three different areas; physical, mental and
creative. Physical is the actual jumping on
the set, doing chops, taking solos. Mental
is reading and theory. It's important for a
drummer to have some knowledge of
chords or theory so he'll know what's go¬
ing on. The creative part is shaping solos;
spiritually expressing yourself through the
instrument.
MD: Do you teach your students tradi¬
tional or matched grip first?
KD: I start beginners with the matched
grip because I find it easier for them to un¬
derstand. Over a period of time, they seem
to be able to handle many different styles
using the matched grip. Both grips are use¬
ful. The traditional grip is indispensable
for most styles of jazz, especially bebop.
Now I ride with my left hand in the tradi¬
tional grip and there's a reason for that.
The traditional grip is good for playing ob¬
jects close to you, while the matched grip is
good for playing objects which are farther
away.
MD: Do you use a lot of finger control with
the matched grip?
KD: Yeah, I developed it myself. I was go¬
ing to be taught finger control by Charlie
Simon, but something happened and I
wasn't studying with him anymore. So, I
made up my own finger control and called
it the "Wood Stroke."
MD: Besides playing the drumset, do you
also have experience in playing percus¬
sion?
KD: I' ve played some percussion with the
Municipal Symphony Orchestra in Cara¬
cas, Venezuela. I did a lot of orchestral
work while studying at Berklee and a
couple of concert things in New York.
MD: What advice would you give to young
drummers?
KD: If it had to be one thing it would be to
"jump in the lake" and swim.
MD: A baptism of experience.
KD: In terms of being well-rounded, they
have to have a lot of possibilities that I was
given, such as a good teacher, playing a lot
of different styles and listening a lot. Play
with musicians with more experience.
MD: Are there drummers that you ad¬
mire?
KD: Tommy Rendall. I shared a lot of stuff
with him when I went to Berklee. Also Vin-
nie Colaiuta, Billy Cobham, Billy Hart
and Max Roach.
MD: Your major at Berklee was composi¬
tion. Do you still compose?
KD: My composing goes on all the time,
and by the time I'm 50 or 60 I'd like to be
known as a serious composer.
MD: What does the future hold for Ken¬
wood Dennard?
KD: For a while, I'll probably just play on
the road and work on other projects with
Unisphere Records, the record company I
co-founded in 1980. Then I'll be getting
into my own thing. I'm going to come out
with an extraordinary band that allows me
to explore, technically, a lot of things.
I'll also put together a more commercial
group. Of course I'll play on other peo¬
ple's sessions. Once you have your own al¬
bum out, that doesn't mean you stop play¬
ing on other people's sessions. »
MAY 1 983
71
by Simon Goodwin
Adjusting For Softer Drumming
Many of the name drummers who appear
in Modem Drummer are concerned with
high volume and projection of their sound.
This subject comes up regularly in connec¬
tion with development of technique,
choice of equipment, tuning and miking.
These players usually perform in large
halls in front of audiences who are there
specifically to listen, and who don't mind if
the volume level prevents easy conversa¬
tion. These performers have reached a
level of success at which they automati¬
cally command attention. It must be re¬
membered, however, that they are in the
minority, and that for a large percentage
of working drummers, a thunderous tech¬
nique is not considered a virtue, and a
drumset which cuts through all opposition
is a liability.
ANALYZING THE PROBLEM
There are many different musical situa¬
tions where quiet playing is required.
There are styles of music which in themsel¬
ves are quiet—small group jazz, or possi¬
bly folk. Accompanying shows often calls
for a great deal of finesse when singers on
stage are poorly amplified, if amplified at
all. Probably the most common situation
is playing in a lounge or restaurant in
which obtrusive music is unwelcome, but
in which the band is still expected to pro¬
duce everything from soft background
music to the latest rock hits.
"Fine," you say. "So the background
music is soft, and the stuff for the audience
to jump about to is loud." Wrong! If the
room is small, or if some customers want
to dance while others want a quiet drink
and a chat, the music must remain at an
acceptable level. This doesn't mean that
your rendition of "Fame" has to be ex¬
actly the same volume as "When Sunny
Gets Blue," but the band can’t suddenly
start to roar.
So here is where the problem occurs.
Drummers playing loud music can be loud
all the time, and drummers playing quiet
music can adapt their equipment, tech¬
nique and mental approach to playing qui¬
etly. It's the drummer who plays the type
of music which is normally loud, but has to
do it quietly, who has a special set of prob¬
lems. Because by holding back, the drum¬
mer is losing mental attack, an important
factor in producing a feel. Certainly an ad¬
justment in technique is required, but in
order to produce the best results, this must
be coupled with a reappraisal of tuning,
equipment, set-up and approach.
Of course, instead of relying on a lighter
touch, you could take the other course and
dampen the drumset so much that it
doesn't matter how hard you hit it, the
sound produced is minimal. Although this
method is not recommended, it does have
the advantage that you can thrash away,
enjoy yourself, and probably transmit
some of your enthusiasm to the rest of the
band. For the drummer who must put a lot
of physical effort into the playing, but is in
danger of getting fired for being too noisy,
this is the possible answer. The disadvan¬
tage with this is that the sound which
reaches the audience, although at an ac¬
ceptable volume, will usually be unmusical
and unattractive.
THE IDEAL SOUND
You probably have an ideal sound you
want from your drums. This is when all the
variables are adjusted to your personal
preference. Whether you are a beginner or
a seasoned professional, you make your
choices based on your ears, heart and
head. When adjusting your set for quiet
playing, it's best to start with your ideal
sound and then go on to consider what ad¬
justments need to be made to reduce the
volume. If you start with the set sounding
just as you like it, there's a good chance
that you'll be able to reduce the volume
without changing the sound too drasti¬
cally.
It's possible that you already employ
some form of damping. If so, you may find
it sufficient, otherwise you can experiment
with increasing it. Open drums are very
difficult to use in the type of situations
which I am talking about. Some damping
would become necessary. However, if
you're the sort of player who feels at home
with open drums, you're probably used to
playing with a good deal of control any¬
way, so the damping need not be too great.
TOM-TOMS
On the basis that double-headed toms
carry better than single-headed ones, it
would be logical to assume that a good first
step would be to remove the bottom heads.
This is not the case. Remember two things
here: you'll be employing a more gentle
technique, and you still want a good drum
sound. Single-headed toms need to be
whacked quite hard to get the best tone out
of them. If you damp the head of a single¬
headed drum, you're reducing the re¬
sponse of the only vibrating surface and
changing the actual drum sound more than
should be desirable. For those players with
single-headed tom-toms who wish to adapt
them for quiet playing, I'd recommend
that you experiment with taping pieces of
felt, or folded tissue paper, to the inside of
the shell before you try damping the head.
These mufflers should be no more than a
quarter of the depth of the drum and
should fit easily between the set of screws
which hold the tension rods in place. They
should be close to the underside of the
head, but not touching it. Start with two of
these mufflers on either side of the drum
and add more if necessary.
There is a slight variation I've found
ideal for damping tom-toms. Use a piece
of felt, or a folded duster, and attach it to
the rim of the drum on the side furthest
from you. Do not use tape, but rather, a
small bulldog clip used for fixing paper to
clip boards and drawing boards. They're
cheap and can be bought in any shop that
sells office equipment. These clips are
much easier and cleaner to use than tape,
and you can remove them or make adjust¬
ments with extreme ease. I have found that
a piece of material about 6" by 4", clipped
to the rim half-way along its longest side, is
ideal for all tom-toms from 10" to 16".
This is rather surprising in that the smaller
drums have a larger proportion of their
head surface covered by the damper than
the larger ones do. The ease with which the
amount of damping material can be varied
makes this method preferable to using the
external clip-on dampers supplied by some
drum companies. Obviously this method
cannot be used on the bottom head. If you
feel the need to damp the bottom head,
t'im r MUnl rirLtC }V\ft
72
MAY 1983
Introducing the
IMeary
Drum-Torque
by Dalcam g
o«*dSS5*
A Breakthrough
in Drum Tuning
NAME
ADDRESS
CODE
The new high-tech way to tension and
tune all drums quickly and accurately.
The tuning of each drum can be readily
changed or duplicated, always
providing the specific sound and stick
response you prefer. Fits all drums.
Please send me more information
on the NEARY DRUM-TORQUE
DALCAM MUSIC INDUSTRIES
6070 Oulnpool Road, Halifax, Nova Scotia
Canada, B3L 1A2 Telephone (902J 429-0454
DISTRIBUTED EXCLUSIVELY BY DALCAM MUSIC INDUSTRIES
6070 OUINPOOL ROAD, HALIFAX, NOVA SCOTIA
CANADA, B3L 1A2 TELEPHONE |902| 429-0454
who reads xtonetui DRummetz ?
PAUL
“Modern
MOTIAN
Drummer,
naturally.”
xionetui
DRUmmeR Mas [azine... when
Why do thousands of amateur and pro¬
fessional drummers subscribe to MOD¬
ERN D R UM MER ? Because they're seri¬
ous players who realize that MD is the
only magazine in the world dedicated
exclusively to drumming. It’s also the
only publication on the market offering
the kind of first-hand information that Vs
required reading for all drummers.
As a subscriber, you can depend on
exclusive, in-depth interviews with the
greatest drummers on the scene today.
Interviews that deal with music, equip¬
ment, styles, philosophies and goals.
Plus, youII get a behind the scenes glance
at some of the nation’s leading percus¬
sion manufacturers, and learn what’s
available at America’s top drum shops.
We’ll give you valuable advice on how to
improve your reading, your technique,
and your all-around playing skills; plus a
weahh of solid information on tuning
your drums, muffling, miking and main¬
tenance. You’ll read about the latest new
products, and learn how some items
compare with others, what to look for,
how to care for it after you’ve bought it,
and much, much more in every issue.
You can analyze your favorite solo in
Drum Soloist, ask a question through
Ask A Pro, or simply read up on what’s
new in MD’s Product Close-Up, In¬
dustry Happenings and Just Drums.
There’s also MD’s specialized de¬
partments designed to help you be the
best you warn to he. Departments like
Rock Perspectives, Jazz Drummers
Workshop, Rock V Jazz Clinic, The
Club Scene, Staying In Tune, Show and
Studio, Concepts, Shop Talk and Strictly
Technique, to name a few. Here’s your
opportunity to pick up first hand 'how¬
to* information from the leading experts
in the field of drumming.
Whatever your age or aspirations in the
exciting world of drumming—we’ve got
something especially for YOU! Don’t
you think it’s lime you started subscrib¬
ing to MD? If you consider yourself one
of the serious drummers of the world —
you really can’t afford to miss a single
issue. Simply fill in and mail the attached
card TODAY. Or Call Us— TOLL FREE
—for twelve dynamic issues containing
the most valuable drumming informa¬
tion available anywhere!
One Year Subscription:
$21*95
(Save $5.00 cufTlhc price:)
$39,95
(Save $ 14,00 oil’ the newsstand price)
Mail to:
MODERN DRUMMER
1000 Clifton Avenue Clifton, N. J. 07013 USA
or
Call TOLL FREE
24 Hours daily/7 days a week
1 - 800 - 323-1717
(Operator #120)
Illinois Residents* Dial
$ 00 - 942-8881
the PROS go
you'll have to resort to tape, either on its
own, or supporting padding. However, as
a rule, the damping on the batter head can
absorb some of the impact from the stick,
while the bottom head will vibrate more
freely, giving the drum its musical tone. So
go easily with the bottom head.
The same rules apply here as with the
tom-toms. Start with your ideal sound and
proceed to try to get it quieter without
changing the quality more than you can
help. I'd advise you not to do anything to
the snares or the snare head. If you do, it
will make the drum sound quite different.
Concentrate your efforts on the batter
head. If you use brushes, you might find
that having part of the head's surface cov¬
ered with a piece of cloth is a nuisance. The
easiest way around this is to tape a small
piece of material (or tissue paper) on the
inside of the head. If you have an internal,
screw-on type damper in your snare drum,
it's a good idea to stick the padding di¬
rectly above where this damper would
come to rest against the head. Then you
can use the two dampers in conjunction
with one another. If you think the padding
should be pressing more firmly, you can
tighten the screw damper, which will pull it
into position. The padding taped to the
head helps to prevent those annoying rat¬
tles which can occur with screw-on
dampers.
Another possibility—it you don't want
anything fixed to the batter head—is to put
a thin felt strip under the head, held in
place between the rim of the head and the
drumshell, similar to what you might do
with a bass drum. Avoid putting the strip
right across the center of the drum as this
will kill the tone completely.
If you like the batter head of your snare
drum a little on the loose side, you'll need
to have it a bit tighter for quiet playing.
The damping you have employed will re¬
duce the crispness of the drum so that it
will no longer sound the same unless the
head is tightened. Also, using lighter sticks
and playing technique, you'll probably
find certain things more difficult to execute
unless you make the head more responsive.
BASS DRUM
Even drummers who have no dampers
on their snare drums and tom-toms usually
employ some form of damping in the bass
drum. This makes the problem easier. To
make the drum quieter, you just increase
the damping.
In the case of the bass drum, it's much
easier to deal with one head than two. The
batter head is large enough to be damped
sufficiently and still retain its tone. Playing
in a quiet situation, you won't need the ex¬
tra carrying power which the front head
gives. Of course, the standard compromise
here is to use a front head with a hole cut in
it. This means that you can rearrange the
muffling materials inside the drum. There
is no reason why a double-headed bass
drum should not be muffled with pillows or
blankets. But without the hole, you have to
take off the head if you want to change
anything. There are external dampers
which clip onto the bass drum hoop. I'm
reluctant to knock anybody's product, but
I've found that because of the tonal depth
of the bass drum, these always rattle unless
they're screwed up tighter than I find desir¬
able. I've seen drummers with double¬
headed bass drums wedge pillows up
against the front head and put things like
rolled up towels between the batter head
and the pedal posts. This not only looks
untidy, but it's uncertain that the muffling
will stay in position.
Now let's be positive. I've found that a
large hole cut in the front head (leaving
about 4" around the edge) leaves me with
only one head to tune, easy access to the
muffling inside, and the front hoop on the
drum. It also helps to keep the drum in
shape, protects the bearing edge and is bet¬
ter visually.
In the same way that drummers who use
heavy sticks should be prepared to change
to lighter ones for quiet playing, drummers
who use wood or hard synthetic beaters
ought to change to felt. I use a loose felt-
strip damper and a folded blanket in the
bottom of the drum, resting against the
head. A feather pillow is more generally
accepted, but I like the blanket because it's
versatile. Plus, it can be folded in a differ¬
ent way, giving more, or less, contact with
the head.
A general point about all the drums is
that the overtones can be reduced by put¬
ting them slightly out of tune by gently
slackening off two tension rods on oppo¬
site sides of the batter head. This can give a
very pleasing effect from the tom-toms.
continued on next page
75
at better /jm
music stores ffgjf f
everywhere pRE-TUNED SERES
PRE
TUNED
SALSA
the hot bongos & tambourines
that never need tuning, ,
always ready to play!
TUNED
S.TUNE
fine-tune tighten
as desired
Special
daw-hooks adapt
PTS heads
to your
drums
everywhere PRETUNED SERIES
PRE
TUNED
PRO
SOUND
everywhere pRETUNED SERES
CYMBALS
It's quite common to see drummers with
limited resources spending most of their
budget on expensive drums, and then com¬
pensating for this by buying cheap cym¬
bals. Anyone who does this has got it the
wrong way around. Any drum can be
made to sound reasonably good with a bit
of attention, but a bad cymbal will always
be just that, and nothing can improve it.
The fact that in normal set playing you
play more notes on cymbals than you do
on drums, should indicate the importance
of cymbals. If a band is playing loudly and
the drummer is not miked, it's possible for
the sound of a bad cymbal to get lost in the
overall sound of the band. If you are
miked, or playing in a quiet situation, your
cymbals are going to be heard. There is no
substitute for good quality cymbals. A
good cymbal will blend with the notes of
the other instruments and will enhance the
sound without getting in the way or cover¬
ing it up. There is a strange quality in the
sound of a good cymbal. It can be played
(at a reasonable volume) in a quiet musical
setting without seeming too loud, and it
can be played at the same volume behind
louder music and still be heard.
The point to be learned from this is that
good cymbals and good playing are usually
sufficient to insure that the cymbal sound is
right in a quiet setting. I don't recommend
tape on your cymbals since it causes them
to vibrate unevenly and lose quality, as
well as quantity, of sound. A bad, clangy
cymbal can be helped by being taped, but
this does not actually make it sound better.
It simply reduces the clanginess, leaving
you with more of the "clicky" sound of
the stick.
Cymbal felts can be used to reduce the
amount of ring from a ride cymbal. The
same thing applies to the top hi-hat cym¬
bal. In both cases, you must be careful to
leave some movement in the cymbal. If it's
screwed up too tightly between felts, there
is a danger of it cracking, even when
played at low volumes. The angle of tilt of
the bottom hi-hat cymbal can also be re¬
duced, as can the gap between the two
cymbals.
Crash cymbals are a slightly different
matter. I don't advise tightening the cym¬
bal to reduce vibrations. The crash cymbal
needs freedom of movement to function
properly. The way you play it is the all-im¬
portant factor here. The distance that the
tip of the stick travels between the snare
drum and the crash cymbal is usually be¬
tween three and four feet. If you allow
your arm to extend in a fast motion, leav¬
ing only the impact of stick against cymbal
to check it, you're going to produce an un¬
controllably loud crash. The stick should
slice at the crash cymbal with a circular
motion, so that even as it hits it, the stick is
starting to come away from it. Develop
this technique and you'll be able to control
the amount of force which goes into the
crash.
There are cymbals which are more suit¬
able for quiet playing than others. I'm not
going to attempt to catalog them, but for
example, the Flat Ride type is very useful.
A 16" crash is generally preferable to any¬
thing larger, and the standard weight of hi-
hat cymbals are easier to play at low vol¬
ume than ones which are produced
especially for their "cutting through"
properties. A large cymbal with rivets can
also be useful. I'd suggest the ordinary siz¬
zle ride cymbal in preference to a China
type. You can ride on one of these with a
76
MAY 1983
stick or brush and produce a gentle, siz¬
zling crash which can fill out the sound
without being obtrusive.
The possibilities open to you when using
your cymbals quietly is the principal de¬
light in this situation. You can get different
sounds by playing on different parts of the
ride cymbal. When the music is loud, this
doesn't make much difference, but when
it's quiet, you can hear the difference and
it's like having two or three cymbals in
one. You don't need to play so hard on the
hi-hat. Many drummers play across the
edge to get extra volume. Have you ever
tried playing on the bell of the top hi-hat
cymbal while opening and closing it? This
produces a very effective sound in Latin
numbers, but is easily lost if the band is
loud.
HARDWARE
In the same way that a bad-sounding
cymbal can be covered up by a loud band,
but will stick out like a sore thumb if the
music is quiet, so will any rattles or
squeaks from pedals, stands, stools or
lugs. In the same way these noises can be
picked up by microphones in other circum¬
stances, when you are playing quietly
you'll be surprised just how audible they
become. I've even been irritated by the
sound of the butt ends of the sticks knock¬
ing against the buttons on the cuffs of my
jacket.
Be sure that you, and your set, are only
making the sounds you intend to make.
Any others should be ruthlessly elimi¬
nated. For further hints on how to deal
with this, see James E. Murphy's very
helpful article, "Getting The Noise Out Of
Your Set" in MD August/September
1982.
ADJUSTING YOUR PLAYING
Keep in mind that when a percussion in¬
strument is hit, speed equals force of im¬
pact, which equals volume. Under normal
circumstances, it's easier to play slowly
and quietly than fast and quietly, because
when your hands are moving quickly,
they're producing more force, therefore,
impact is greater. When low volume is re¬
quired, this problem can be alleviated to a
certain extent by using a lighter pair of
sticks. Lighter sticks reduce the force of
impact by not contributing so much with
their own weight. They encourage a more
gentle approach and produce a more musi¬
cal sound from the cymbals.
The distance the stick needs to travel be¬
tween various parts of the set is also of im¬
portance. If, at a fast tempo, one hand is
playing consecutive 8ths on two drums
which are 18 inches apart, the stick will be
moving at quite a speed. Without forcing
yourself into a cramped playing position,
it's a good idea to make sure that the move¬
ment between drums and cymbals is no
more than it needs to be for comfort.
Then, armed with your lightweight sticks,
go on to adjust the sound of the drumset
and your own technique to produce the
best possible results.
Remember also, when making adjust¬
ments to your playing and your set, that it
is possible to overdo it. Something which
sounds loud in an empty and otherwise si¬
lent room can be easily absorbed when the
rest of the band is playing and people are
talking and dancing. Of course, we all
know how people in a room act as mufflers
for the acoustics of that room. You'll
probably hear more of yourself than the
people out front do. They hear more of a
blend with the other instruments. If you
have a friend out front, whose judgement
you can trust, ask about the balance of the
sound and whether you were too loud or
insufficiently audible. Ask other members
of the band. They'll tell you if you were too
loud or too quiet.
Playing quietly can be most enjoyable.
What you may lose in the sense of power
which loud music can give, you gain in a
sense of awareness. There are intricate
things you can play which don't work at a
higher volume, either because they are cov¬
ered up by other instruments, or because
it's not so easy to execute them. You'll find
that your more intricate tricks can now be
heard and you must resist the temptation
to become too busy. You can enjoy the ac-
coustic properties of your set and it's a
pleasant feeling to know that you have all
that power in reserve which you are con¬
trolling. Finally, remember to play for the
band and for the music. That's your pri¬
mary function, regardless of how loud or
quiet it is. w
Study at home with Steve Gadd.
And other leading drummers like Lenny White, Bernard Purdie,
Yogi Horton and Ed Thigpen on your VCR.
Now you can learn from these lead¬
ing drummers first hand with our
intimate instructional videos. WeVe
recorded exclusive one hour (approx.)
color video programs using high qual¬
ity audio and video so you can really
see and hear what they do and how
they do it. As they talk about their
influences and carefully demonstrate
the approach they've become known
for, they also cover the basic percus¬
sion techniques that form the basis
for any drummers style.
These video taped master classes
mark a breakthrough in terms of an
updated teaching approach lor drum¬
mers committed to expanding their
art. Each tape has been skillfully pro¬
duced and edited to contain the maxi¬
mum information in the most dear
and concise way. There is so much to
learn, on so many levels.
For the price of a few lessons you
can have the benefit of learning from
top drummers that would otherwise
be inaccessible. If you would like to
take advantage of this learning oppor¬
tunity please use t he coupon below.
I would like to order the following tapes:
Quantity
Beta VI iS
_ _ Steve Gadd “Up Close" in Stereo ( $79.95)
™— - Lenny White "In Clinic" ($79.95J
— Ed Thigpen "On Jazz Drumming" ( $79.95)
Bernard Purdie "On Studio Drumming"
($69.95 due to slightly shorter length)
Yogi Horton "A History of R&B Funk Drumming"
($79,951
Please allow 4-6 weeks for delivery
I am enclosing $ _ for_ tapes
Name
Address
City _ State _ Zip
Phone ( ) N.Y.S. residents add sales tax
*For countries other than LLS.A., Canada, Mexico, Japan and
South America add * *20 U.S, dollars per tape for conversion costs
(Specify PAL or SEC’AM). Add $4.00 for postage per order. *7.00
for countries outside the U.3.A. Please make check or money order
payable ILLS. Dollars) to: DCI Music Video.
Send to: Drummers Collective, 541 6th Ave. (4th fIJ, NX, N.Y. 10011
MAY 1983
77
by Ray Fransen
Listening to Learn
Sometimes, the technical challenges of
drumming monopolize our energies and
we easily forget our most important goal—
musical development. Practicing, tech¬
nique and reading are very important, but
they aren't goals in themselves. Primarily,
making music requires that we first think a
sound and then produce it on the instru¬
ment. A factor in achieving this end is the
development of the ear so that it can dis¬
cern detail, form, concept and interplay.
The following ideas should help develop
musicality through careful listening to live
and recorded music.
When you listen, just listen! For many
people, listening is an accessory to some
other function, such as reading or conver¬
sation. If you're going to learn from listen¬
ing, try to concentrate on it totally. While
watching TV, for instance, most people
don't feel obligated to do anything else,
feeling that by using their eyes, they are
doing something. Yet, to these same peo¬
ple, it feels passive to sit and use only their
ears.This is a pitfall for a musician in pur¬
suit of information.
To really learn the instrument, try listen¬
ing to all types of music. You don't have to
like everything, but try to be aware of
diverse styles and the differences between
them. Try viewing your record collection
as a library; some volumes are for refer¬
ence, some are texts and others are for pure
enjoyment. Some records may be used as
"how-to" books. You don't have to listen
only to learn, just be aware that all educa¬
tional material is not fun and vice versa.
Because drums are primarily an accom¬
Call
(800) 348-1782
.H4JOI HI-1?? 5 In WiMM
For Quality Service, Quick Delivery
And Competitive Prices.
Send $2,00 For £il| new
'Percussion Accessory Cat?!op a "
Tli FEHCUSSIQK CEKTEE
1> h Hfuv-Kwi 'ir
I' I r^i I hi I. #i
“ffhr Ihi_un.F.4. Piiptr, 5hO*J ,r
panying instrument, it makes sense to lis¬
ten to players in a band other than the
drummer. You can often learn more.
Many of us tend to be "lick conscious."
For instance, we'll pick up a tid-bit from a
record, practice it for weeks and finally use
it in our own groups. Only then do we hear
(usually from other band members) that it
doesn't work. This is because high-level
drumming is not self-generated but is,
instead, a product of mutual involvement
and concentration within a band. Every¬
one in a group feeds off the ideas of the
others so, a "stolen" lick won't work out
of the context in which it was originally
used. Try listening to the musicians on a
record to see if you can tell what it was that
they played that urged the drummer to
move in a specific direction.
Additionally, being too lick oriented can
stifle personal creativity, leading many
drummers to sound like second-rate imita¬
tions of their idols. Remember that any
drummer who knocks you out is not doing
so because he sounds like someone else.
Each player has an individual voice that is
the sum total of all his listening and play¬
ing experience, tempered by his own tastes.
If you learn to listen to the other musicians
on a record, you'll be practicing exactly
what will be required of you in your own
band. No other drummer will be there to
lean on and you'll have to feed off the rest
of the group.
Try projecting your own playing ideas
into your records. Once you've discovered
how the player on the record made things
work, try to see how you would do it. This
also works with live performances. Picture
yourself in the drummer's chair in as much
detail as possible. If you hear the drummer
play something that you might play, you
may want to avoid watching him execute
that particular figure in order to avoid pos¬
sible confusion in the way you might exe¬
cute it. In music, there is usually more than
one correct way to play a piece. Your own
ideas can be just as valid as those of the
drummer you are listening to.
Be careful about labeling things "good"
and "bad." Some tend to call good those
things which they already like, and label as
bad those they don't care for. Objectively,
a good drummer is one who works with the
group towards the fulfillment of its con¬
cept. Speed, kit size and anything else is
secondary to this ability.
Finally, try to make objective observa¬
tions which will help you discover how a
particular drummer functions as he does.
Try to grasp the concept, rather than every
little detail. Concept actually underscores
a player's musical identity, separating him
from all others. These differences could be
in the areas of technique, phrasing, touch,
tone or tuning. The drummer may stand
out because he plays in contrast to, or com¬
plementary with the band. He may be a
busy or a simple player. He may play on
top of the beat or behind the beat. He may
make unusual use of tension and release.
What's important is the how and why of
what you're hearing. Make an attempt to
be familiar with as many aspects of playing
as possible so your own style will be well-
rounded and built upon a solid synthesis of
many styles, with full knowledge of how
they work. Good listening! >
14 kt GOLD CHARM
THE CLASSY LOOK
Rim Shot Productions
7HEi Etanc-o Hu. Suite v ■ 14
An ron.-v
78
MAY 1983
THE INTERVIEW
BY TIMOTHY WHITE
Bowie’s odyssey
of image and
imagination,
art and artifice,
the glamorous
& the grotesque...
in today’s finest
music magazine.
$12 for 12 issues. Save an incredible
SI 1.40 off the newsstand price.
FREE! Get the David Bowie issue as
a bonus when you subscribe with this ad.
Hurry while they last.
(heck Enclosed □ Hill me. (No issues will be sent
until payment is received >
Detach coupon and mail with your check or money order to
MUSICIAN, PO. Box 1923. Marion, OU 43305-
NAME
It is rare that a writer has a chance to col¬
lectively interview musicians noted for
their amazing ability to perform together
as a rhythm section. However, bassist Mel
Craves and drummer George Marsh sur¬
pass that simple classification. They are
performers of the highest calibre; innova¬
tors and explorers who go beyond the
imagined boundaries of their respective in¬
struments. Their recently formed duo is a
fine case in point.
George Marsh and Mel Graves are intel¬
ligent, open minded, expressive individ¬
uals with fine senses of humor. The rea¬
sons their personal and musical
relationship is successful is because of their
shared attitudes about music, their ability
to teach each other, and most important of
all, they have allowed each other personal
and collective growth.
CB: Mel, as a bass player, do you need a
drummer, and what qualities do you look
for in a drummer?
MG: I like to play music with a lot of differ¬
ent people, and in certain situations I
wouldn't necessarily need a drummer. I'm
sure George would agree with me when I
say that everybody has to keep the time. So
if we need a drummer in a group, it's for
the sound and timbre; the individual and
the special thing they do, rather than "we
need a drummer."
CB: In other words, the qualities you look
for in a drummer are exactly the same
XI
[XI
nr |7
lil 1
u
u
il
oipLITl
[1JJ
A Dialogue with George
qualities you look for in any other musi¬
cian.
MG: Exactly.
CB: George, what do you look for in a bass
player?
GM:The bass player should hear what I'm
playing and be able to understand that I'm
playing phrases and melodies. That's one
thing I'd want a bass player to understand.
Therefore, it follows that a bassist per¬
forms in such a way that I can hear and
understand what he's playing. With Mel,
this happens all the time. I understand
what he's playing and visa versa. There¬
fore, we can both play together. When
we're working together, I can play one me¬
lodic phrase and he can play another at the
same time. If I'm playing with other bass
players and can't understand what they are
playing, it's usually because of two rea¬
sons: One is because I could be playing too
complex and should play simpler. Two,
they're not listening to what I’m playing.
CB: What's your responsibility as a drum¬
mer?
GM: Ultimately, my main responsibility is
to listen and be able to have my "chops"
well enough together that I can play what I
hear. Also, my sense of time should be
solid so I can lay down a good foundation.
CB: Would you agree that if nobody in the
band has a good sense of time then, at the
very least, the drummer should?
MG: No. The bottom line is if the drum¬
mer is the only one who has a good sense of
time, then he should quit the band!
GM: I would say that a drummer with a
bad sense of time will have a more difficult
time faking it than some other member of
the band. A drummer has to absolutely
have a good sense of time. And it should
have a good feeling; a gut level feeling; an
earth-bound feeling.
MG: The bass and bass drum lay down the
lowest, deepest feeling of the band that can
connect to human beings. Rhythm is an
important factor and it's very important
that the bass drum and the low notes of the
bass are played together. I hear rhythm
sections in jazz with bass players playing
on the top end of the instrument. They
think they're cello players. Although I love
the range of the instrument, I totally dis¬
agree with that concept.
CB: George, was there anything else you
wanted to add about the responsibilities of
drummers?
GM: Another responsibility is to be aware
of the fact that drums have an incredibly
wide dynamic range, from triple forte
down to triple pianissimo. Drummers
should learn how to use that dynamic
range. As a drummer, control of dynamics
is one way I get emotional feeling through
the drums. It's a very potent method. Not
only using dynamics, but also staying con¬
stantly aware of them. In a lot of situa¬
tions, if / don't, no one else will. It's im¬
portant for a drummer to be able to
"cook," play phrases, or anything else
you can think of, at all dynamic levels. It
means being able to play from very loud to
very soft and visa versa. It's an interesting
problem because it's incredibly difficult to
do. If you're able to do that with different
musicians in various situations, you're
able to raise the music way up. A drummer
can arrange a tune by using and controlling
dynamics. One situation I find interesting
is that sometimes I'll be playing with other
musicians, and I'll go way up in dynamics
and people will assume that I'm going to
stay at that volume, when all I'm going to
do is go up and down in volume very
quickly.
CB: Have there been any rhythm sections
that have been an important influence on
either of you?
GM: Philly Joe Jones, Paul Chambers and
Red Garland, because they were loose, me¬
lodic and emotional. I also like Percy
Heath and Connie Kay of the Modern Jazz
Quartet. I liked the way they gave a lot to
the music. They played for the music. That
rhythm section was always cookin'. But
they played for the overall effect. Their
egos weren't totally involved in the music.
Yet, you could always hear them. I like and
appreciate that very much.
CB: Can either of you recall the best advice
you ever got on how to play in a rhythm
section?
MG: When I was fifteen, my first bass
teacher hipped me to the "V" of a beat. He
said that some grooves were just ahead of
the "V," others were right in the "V," and
other grooves were right in back of the
"V." He also stated that as the time went
SO
MAY 1983
Drums:
Marsh and Mel Graves
on in a tune, there were different grooves
and time feelings within a tempo.
GM: The next thing is to try and find out
how to do that. It's something I've discov¬
ered how to do by approaching the instru¬
ment physically. I don't try to think ahead
of the beat, or in the middle of the beat. I
just think straight time and play with a dif¬
ferent motion in my arm to change the time
feeling.
CB: What are common mistakes that bass¬
ists and drummers make?
GM: One of the most common mistakes
that Mel and I have observed is that drum¬
mers don't know how to keep the time an¬
chored and still "lift" it. The time will tend
to sound heavy.
Something that Mel hears bassists do
very often is that their bass lines won't be
particularly interesting melodically. Also
they'll sort of play note to note. And when
they go note to note, each one will vary in
ways that won't make any sense.
MG: Not only that, but each note will vary
in sound and timbre. A good bass line
should have an even sound. It should have
melodic shape. A bass line goes over an
arc. It shouldn't be note to note, but be a
phrase or a composition in itself.
GM: So if a bass player doesn't have a feel¬
ing of being able to play a line where the
notes are connected, and have an "arc"
feeling, very often the time will have a lead
weight feeling to it.
MG: Static.
GM: Static, and even worse than that. It'll
sound like it's going backwards.
CB: Mel, are there any other problems that
you see as a bass player that drummers
seem to manifest?
MG: Drummers sometimes don't think
about the sound of the drums.
CB: Do you mean the way they tune the
drums?
MG: Yeah. Also the way they use dy¬
namics and their equipment. I sometimes
see drummers come to a trio gig with a big
band set; huge drums for a small group.
They'll be playing and wonder why they
can't match up their sound with the rest of
the group. Even if the drummer is tuned
into the time, if the sound of the drums
isn't correct, then he's not blending into
the situation, and that bothers me. Also if
he doesn't phrase, or use dynamics in a
way that matches the band melodically,
and plays note to note, it makes for bad
music. Good jazz, no matter if it's "free"
or bebop, sounds better if it's phrased over
long periods of time. It's really much more
interesting and a lot of things can happen
musically.
CB: Are there any methods or techniques
that either of you can suggest to correct
these deficiencies in bassists and drum¬
mers?
GM: If a drummer has time problems, he
should check how he holds the sticks and
ask himself whether or not he's allowing
the stick to bounce freely. Second, is he
tightening up in his body? Is he able to
dance on the drums? Can he move and can
he bounce? If he can bounce, he can have
good time. If he doesn't have good time,
something is out of kilter physically.
MG: What you're saying is that relaxation
is involved with good time.
GM: Yeah, relaxation. If a drummer's
time is slightly off, maybe it's just a ques¬
tion of using the metronome and finding
out what steady time is. He can use it as a
guide. As far as dynamics are concerned, if
a drummer gets a steady bounce going
first, and is relaxed, then he can concen¬
trate on using dynamics. You don't start
on dynamics. Relaxation comes first,
that's number one.
CB: Are there any problems or differences
for a rhythm section playing in an acoustic
band as opposed to an electric group?
MG: In most of the music I play, I have an
amplifier. Over the last ten years I've gone
from large amplifiers and a lot of equip¬
ment, to a small amplifier that is amplified
by the house. You don't need columns of
speakers. All you need is enough sound to
hear yourself on stage.
GM: What Mel and I consider our top dy¬
namic level would be the normal level of a
rock band.
MG: And we go from that level to nothing;
the sound of silence.
GM: I find that most electronic loudness is
anti-musical. It tends to destroy the play¬
er's ears and it goes in a backwards direc
tion by definition. That's not an opinion.
It's a fact that your ears can be destroyed.
MG: The only reason you need to play
by Charles M. Bernstein
loud is if you're playing huge auditoriums,
and we don't play in places like that. We
enjoy playing in places where people can
hear our softest sound.
GM: When playing acoustic music, your
ears regain their resiliency. When the mu¬
sic is too loud, your hearing looses its sen¬
sitivity.
MG: Ten years ago, when I'd come home
from a gig, my ears were throbbing. I
thought my hearing was going. We were in
the late '60s and early 70s, playing in rock
and fusion groups. I don't think either of
us could take it. The loudness affected our
nervous systems. It just wasn't our kind of
music.
GM: Let me make one important point: I
believe it's possible for listeners to go and
hear music and to leave that concert with
their ears and head feeling better. Or, they
can go to a concert and get totally wiped
out by the volume level. I don't know why
so many people choose to get wiped out,
but there must be a reason for it.
CB: Quite often the biggest problem a
drummer has in electric bands occurs when
he's not miked. Then he's forced to kill
himself physically just to be heard. When
the drummer can't be heard, his time,
sometimes, gets stolen from him.
GM: It's true. Your time can get taken
away from you. It's less of a problem for a
drummer when he gets stronger, chop-
wise.
eatilHiuwi un wt i pup?
MAY ;9S3
Kl
At Berklee,we teach
you how to make music.
And how to make it in
the music business.
Gary Burton
Berklee Alumnus
Berklee is where musical talent meets
musical knowledge. The knowledge you
need to make it in the music business today.
Every day at Berklee, each student moves
one step closer to a professional career.
Whether your interests lie in producing
recorded music, compos¬
ing music for television or
films, or playing as a
jazz, pop, rock, theatre or studio mu¬
sician, Berklee gives you the competi¬
tive edge.
Berklee students and faculty are
dedicated musicians. Each newcomer
is caught up in the energy and enthusi¬
asm that permeates the classroom, the
practice room, and the concert stage.
Here you’ll learn music through hands-
on experience. You can experiment with
the latest recording techniques in our studios. Break new
ground in electronic music. Or, write for your own ensem¬
ble. In addition, students and teachers present over 500
concerts each year.
Berklee will help you meet the challenges
of professional music, today and tomorrow.
If you’re ready to start your own career,
contact the Berklee Admissions Office for
our current College Catalog. Call toll-
free: 1-800-633-3311 (9 a.m. to 5 p.m.
EST). In Massachusetts call: 617-266-1400.
Or, write: BERKLEE, Admissions
Office, Dept. E, 1140 Boylston Street,
Boston, MA 02215.
Quincy Jones
Berklee Alumnus
Ai DiMcola
Berklee Alumnus
Berklee
College of Music
Where careers in music begin.
BERKLEE SUMMER ’83 —This summer Berklee will he offering intens ive stud)/
programs for student and professional musicians. Classes begin on June 2nd or June 30th.
Contact the Admissions Office for mm information
Workshop continued from page 81
MG: As a drummer, you lose subtle move¬
ments. And when you get into that situa¬
tion on bass, it just isn't the kind of thing I
like to do. I don't play out all the way. In
larger groups I sometimes have to play out
all the time to be heard above the accompa¬
niment. That kind of thing bothers me; the
fact that I can't go down and play in the
spider webs and then come up to go all
these different places on the instrument.
That's the type of situation I'm really in¬
terested in, and that's what's so beautiful
Platform continuedfrompage 4
GARY EVANS LEYTON
On Sunday, January 16, 1983 my friend,
Gary Evans Leyton, passed away. For over
23 years he was a professional photogra¬
pher. It was his life—his passion. He cov¬
ered and excelled at every facet of photog¬
raphy. As a high fashion photographer,
many of his photographs appeared in
Vogue, Harpers Bazaar, Seventeen, and
many other national publications. During
the late sixties he was a cameraman for
KQED television in San Francisco. If it in¬
volved a camera, he did it very well.
Gary was a master at using complex
photographic techniques, and turning
them into warm, personal statements. Re¬
cently, he had become involved with Mod¬
ern Drummer as a contributing photogra¬
pher. He told me many times how happy
he was about working for the magazine.
He loved taking pictures of musicians. It
was a new found pleasure for him.
Gary cared a great deal about his friends
and he dearly loved his wife Kathleen, and
his three children, Alexandria, Leah, and
Nicholas. He was a good human being. I
shall miss him very much.
Charles M. Bernstein
San Francisco, CA
FIELD REPORT
I'm writing to let you and your readers
know that after two-and-a-half years with
Count Basie, I've taken a leave of absence
to accept an appointment to head Drumset
Instruction at the University of Southern
California. My friends can still write to me
c/o Count Basie, 660 Madison Ave.,
N.Y.C., or at U.S.C.
Gregg Field
W. Hollywood, CA
ESTABLISHING TEMPO
Special thanks to Rick Van Horn for "Es¬
tablishing Tempo." I've been contemplat¬
ing purchasing a metronome for my pri¬
vate studies, and now I also see the value of
using it with the band. I check out the
bands in my area, and the ones that stand
out from the pack have good tempos; can
feel the audience's adrenalin level and act
accordingly.
Kenneth Montville
Cincinnati, OH
82
MAY 1983
about the fact that we've culminated into a
duo.
CB: You 've both played together for over
12 years. What other special insights has
this long relationship given you?
GM: Our relationship continues because I
find there's always something to work on.
The more we work together, the more I dis¬
cover what to work on. I never completely
hear the way I want to hear. I'm always
working to open that up and to keep that
open.
GUEST EDUCATION
Thanks for "Drums & Education" (MD,
Feb., 1983). Special thanks to Mel Lewis
for his observation that many fine teachers
are brought in to universities as guests, but
not hired as full-time faculty.
It's ironic that a university will bring in
an artist/clinician for a few days at a size¬
able fee, but will not hire a full-time, ten¬
ured drumset artist/teacher because of de¬
gree requirements. Non-degreed classical
artists have been given full-time positions
for years. Why not a drumset artist? If one
is hired it is usually as part-time faculty.
That means no benefits such as hospitaliza¬
tion, retirement pension, etc.
This is, indeed, ludicrous when one real¬
izes that the majority of drummers who at¬
tend an institution which offers a jazz/im¬
provisation curriculum are there to study
set.
Ed Soph
North Haven, CT
STUDIO SNARES
I recently purchased a set of Studio Snares,
as advertised in MD, and felt compelled to
warn the MD readers about this product.
The snare wires are muffled with a piece of
foam padding. Although this does practi¬
cally eliminate any sympathetic vibrations,
all tone and warmth are lost and the drum
sounds like cardboard. For $20.00 this is
quite a disappointment.
Aaron Brown
Wichita, KS
Editor's Note: We spoke with Neil Jacob¬
sen who manufactures Studio Snares. He
said, "We send a release to everyone who
inquires about our product before they
buy it. It says that Studio Replacement
Snares are for recording purposes and mic’
uses. People have called me and asked
about using them live and I say don't use it.
It does choke out the snare drum. It's real
good when you place a mic' right near the
snares on the bottom. It picks up a nice
pop and gets rid of a portion of the toms. If
this reader bought it for use at home, I
would definitely agree that it does sound
choked. If someone is unhappy with the
product, then we 're more than happy to
give a refund. We don't want anyone un¬
satisfied with the snares. "
MG: We're both students of music as well
as teachers of music. We're constantly try¬
ing to learn and grow. The minute you ac¬
cept the things you do and get off on it, you
just stagnate. But when you grow and
leave yourself open to things, that's the
magic of music making. I'm sure that's
why we're still in music. It certainly isn't
for economic reasons. There's a spectrum
of spiritual things that you just don't get
from drugs, meditation, or anything. Mu¬
sic is its own special experience. |^i
JEFF & ROBYN
You must have read my mind. I've been
waiting for an extended article on Jeff Por-
caro for a while now. My thanks to Robyn
Flans for a well-written piece which gave a
lot of insight into Jeff Porcaro the person
as well as the drummer. My thanks to Jeff
for the inside scoop on how he came up
with the drum part for "Rosanna." No
matter how many times I hear it, it's still a
gas.
Frank Neigel
Flushing, NY
CLEM & RICK
Thanks Rick Mattingly! Your profile on
Clem Burke was superb. I've had the
pleasure of meeting Clem and seeing him
perform in three bands. He's obviously a
man who loves his work, and that's what
separates him from the rest.
Tony Fornaro
Fresno, CA
TOGETHERNESS
This is in reference to a question in "Ask A
Pro," May '82. The reader asked Neil
Peart what he used as a tom-tom mount on
his left bass drum. Neil's answer was "an
old Rogers Swiv-O-Matic tom mount"
which was not "solid" by today's stand¬
ards. I had the same problem. I owned a
Ludwig triple tom-tom mount. I put my
tom-tom on the middle mount. This en¬
abled me to bring the bass drums close to¬
gether without the toms hitting each other.
Voila! The problem is solved. I hope this
information is handy to the double bass
players who can't get their set "together."
Please say hello to Neil.
Steven R. Hasen
Syracuse, N.Y.
Editor's Note: Hello Neil.
CONGA ENTHUSIAST
Thank you for the recent profiles of San¬
tana's percussionists and Sheila Escovedo.
Please continue the coverage of today's
outstanding conga players. There are
many of us in the Boston area who share a
passion for this instrument. I'd love to see
an indepth "Master Series" profiling such
giants as Mongo, Patato, Candido, Bar-
retto and Airto.
Glen Calmus pap
Auburndale, MA *
“If you decide to
play for 738 hours
continuously, I hope
you have your head
together. I did,
thanks to Duraline.”
Boo Boo McAfee
11300 Hush St.. So, El Monte, CA 91713:!
“SuperHeads allow
me to get that full
‘tuned down’ sound
without losing sep¬
aration or increasing
snare buzz.”
Barry Keane
Gordon Lightfoot
Harm Rush St., So. El Monte, CA 91733
MAY 1983
83
missed any MD s?
A limited number of back issues still available
*12 - AUGUST 1979
Billy Cobham.. Elvin Jones,
Jimmy Cobb.
#13 - OCTOBER 1979
Gene Krupalribuie Issue,
Michael Shrteve.
#17 - JUNE 1980
Carl Palme?, Derek Pellfcci,
Greal J&12 Drummers- Pan I
#18 - AUGUST 1980
Chei McCracken & Keish
Knuctsen, Ed Greene.
#21 - FEBRUARY 1981
Peter Criss, Rick Mat oft a,
John Bonham, Rod Morgen-
stein.
#22 - APRIL 1981
Hal Blaine, Gil Moore, P I T
Close-Up.
#23 - MAY 1981
Jatmof JtahnsofrButch Trucks
Roger Hawkins, Buddy Har
man, Paul T. Riddle.
#24 - JUNE 1981
Situ on Phillips, Stree Smith,
How To Get Ymtr Product On
The Market
#25 - JULY 1981
Harvey Mason. Alan Gratwr,
Bassist*’ On Drummers
#26 - AUGUST 1981
Billy Kreulimann, Miekty
Hart, Jame* Bradley, Jr.
#27 - OCTOBER 1981
Shelly Manne, Tommy
Aldridge.
#28 - NOVEMBER 1981
Jim Keltoer, Terry Bcn/io. Ed
Blackwell.
#29 - DECEMBER 1981
Ringo Starr, Mitch Mitchell
#30 - FEBRUARY 1982
PhlHy Joe Jones, Stii Hooper.
#31 - APRIL 1982
Mais Weinberg. Narada
Michael Walden, Danny Got¬
tlieb,
#32 - MAY 1982
Aynsley Dunbar, Ala Acuna
#33 - JUNE 1982
Mai Roach, Keith Moon, Vic
Firth
#34 - JULY 1982
John Panozrn. Graham Lear.
Martin Chambers
#35 - AUG/SEPT 1982
Charlie Watts, Ed Mann,
Oauid Din
#36 - OCTOBER 1982
Stewart Copeland, Ed Thigpen,
Drum Book Reference Guide
#37 - NOVEMBER 1982
V'innie Coiaiuta. Barry Aftschul.
Liberty DeVitto,
#38 - DECEMBER 1982
Elvin Jones, John De nsmore,
Miking dr Recording Drums
#39 - JANUARY 1983
Peter Ersklne, Chester Thompson,
Jim Gordon
#40 - FEBRUARY 1983
JeffPorcaro, Gem Burke,
Billy H iggins.
All Back Issues. $3.50 per copy.
Yes, Eve missed some copies? Please send me the issues checked off below.
□ 12 2J17 I 121 n23 _ 25 27 D29 D3I 133 D35 ; 37 [ 139
□ 13 “18 L J22 L 24 D26 !J28 L130 U 32 H34 “ 36 l 138 D40
My payment for $ is enclosed.
SEND TO: Name
Address
City
State Zip
Mail To:
Modern Drummer, Back Issue Service. 1000 Clifton Avenue, Clifton. N.J.
TEAR OFF OK MAKE A PHOTOCOPY
07013.
Carrington continued from page 21
It's not as professional to send a tape to
somebody. We recorded it at Jimmy Madi¬
son's studio. Through our corporation,
Carrington Enterprises, we pressed 500
copies and they're all gone. A lot of people
want the record now.
SF: Are you going to press more copies?
TLC:I don't know. We're waiting hope¬
fully for a company to pick it up before
that. We're not really selling them—we're
giving most of them away. It costs a lot to
press them. It was a good experience.
SF: How long did it take to record?
TLC:Three hours. No rehearsal. We went
in cold, rehearsed the tunes and played
them. It was three hours including re¬
hearsal and playing. We didn't even really
rehearse it. First we'd just play a dry run.
Each tune we played twice and a few tunes
we only played once.
SF: Who picked the tunes?
TLCddid.
SF: Were there charts written out?
TLC: No. Whatever little arranging there
was to be done I'd do verbally. The tunes
were, "What Is This Thing Called Love,"
"Seven Steps To Heaven," "La Bo¬
nita"—which is my tune—"Sunny Moon
For Two," "St. Thomas" and "Just The
Way You Are." In a way, I wish I could do
it again to make it better.
SF: Have you recorded with any other
bands?
TLC: No. I'd like to do some recording,
but I have to get the calls! But, things are
going along pretty fast. I like the pace it's
going at. A lot of people are so big at such a
young age that when they get to be 30 or 40
it's like they have no place to go.
SF: Do you keep thinking of new things to
do?
TLC: For a long-term goal I'd like to be a
millionaire.
SF: Who taught you goal setting?
TLC: I don't think anybody has to teach
you goal setting. Anybody who's in this
business, if they don't set goals, they might
as well get out. You have to set goals or
you'll stay on a plateau. You work towards
something. I think goals are important to
keep a person going. They make you bet¬
ter.
I think the greatest musicians, the guys
who are in their 60's today, when they were
20 they weren't sounding the way they are
today. They had to improve all those
years. Years of experience and hard work.
They had to improve. I think that's impor¬
tant too.
SF: What's your general practice routine?
TLC: When I started practicing, nobody
pushed me. I mostly wanted to play with
the records. That's what I really liked to
do. When I started taking formal lessons I
practiced whatever the lesson was for 45
minutes or an hour.
SF: You never did eight hours a day?
TLC:I never have. I don't think I could to
84
MAY 1983
this day. Maybe when I go to Berklee my
mind will change, but I don't think I could
do anything for eight hours. I would get
too bored doing one thing that long. Now,
I could maybe play with a group for that
period of time. But doing something like
that for eight hours in a room by myself—I
don't have that kind of attention span. For
two or three hours? Yes. But, eight hours?
No. I know a lot of people who do that. If
somebody practices for eight hours a day,
they should be a monster. If they're not
and they have to practice that long, that
ought to tell them that it's not natural.
SF: Do you think there's such a thing as a
"natural" drummer?
TLC: Yes! I think it has to be pretty natu¬
ral for any musician. It has to be there.
People can work at it, and play at instru¬
ments for years. I know plenty of people
who practice and practice two or three
times as much as me and they don't even
improve from year to year. I don't under¬
stand it. The only thing that tells me is that
it can't be natural. And there are so many
naturally talented people who don't know
they're talented who don't practice at all.
It goes both ways.
SF: I wonder if people reading about you
think that you must always be locked away
woodshedding somewhere.
TLC:That's not true at all. I know people
who think I need to lock myself away a lit¬
tle more than I do!
SF: Who are some of the drummers you
love to listen to?
TLC:I don't have any favorite drummers.
I'm probably the only person in the world
who doesn't. I don't see how people can
pick one favorite drummer. I admire eve¬
rybody. Everybody who's on records—
they had to do something to get there,
right? They have something to offer. So
many drummers have so much to offer. I
love Elvin Jones, Art Blakey, Max Roach,
Roy Haynes, Philly Joe Jones, Papa Jo
Jones, Buddy Rich—there are just so
many. I love people who aren't so well
known, like Ben Riley, Billy Hart, Louis
Hayes, Billy Higgins. As good as those
musicians are—how can you pick a favor¬
ite? I can't do it. There are so many tal¬
ented people and they each have something
different to offer. I try to take a page from
everybody's book.
SF: Do you have a record collection at
home?
TLC: Not a personal record collection, but
my father does. He has at least 2000 re¬
cords. My father has everything from
Elvin Jones, Jazz At The Philharmonic in
the '40s to today's pop rock. He has con¬
temporary music, but he doesn't get into
rock at all. I don't either, really. I listen to
it on the radio. I'm talking about hard
rock. I can appreciate it. I can appreciate
what everybody does, but he doesn't buy
those records. My father has such a tre-
coniimted on next page
I Woodblocks, chimetrees, cuckoo c
sticks, cymbals, leg rests, bongos, gor
temple blocks, tamboi
snare drum stands, Rot^
brushes, cases, ratchets!
slstrum, almgfocki
I TIC ROCK-Appi'
Pickering, RUDIIV€NWMWZi!-i\*c
Albright, PROGRESSIVE STUDIES-Gardner
Rothman, PORTRAITS IN MEIjPuHkCirane.
SUITE FOR SOLO VIBRAPHONE* Oak Wo
cuckoo call, drum sticks, timpani stick!
bongos, gonfls L cpwbej!srfwbbeyeet ten
ines, drum
toms. mu^i£rs*WdWRUSi»*wii* j
congas, music stands, metronomes,
I tabors, maracas,_stick totes, sirens. RE A
S
C Wi VII III IU
I STUDlfcS-Oar<#ier, FUN V/w;R!F
MELODY-Cirone, TRANQUILITY-Houllle
VIBRAPHONE-Lepak. Woodblocks c
drum sticks, timpani sticks, cymbals, 1*
all, drum s
js, cowbeit
ceys, mails
_ rs, crotales
music stands.
cks, timpani
rubber feet,
s, pop gun,
tuning forks,
netronomes,
tes, sirens. REALIS-
i0. COOKBOOK-
/tic ANALYSIS-
: UN WITH TRIPLETS—
RANQUILITY-Houllie,
tblocks, chimetrees,
cymbals, leg rests,
to blocks, tambour-
nds, Roto
untahets,
almglocken,
‘ pice.
>nc
Drunks uplirpitedipc.
angs.
Since I96Z, Percussion Merchants to the World
4918 Si. Elmo Av*.. Md 10814 (301) 654 1719
Send SZ 50 today for your personal copy of the PERCUSSION PUBLICATIONS CATALOG, the world %
most complete compilation of percussion music, methods, and literature Catalog price is
deductible from your first SlQ order
MAY 1983
85
1 Protect ^
Your
MB’s
Back issues of Modern
Drummer are fast be¬
coming collectors
items. Protect your in¬
vestment with these
new, deluxe magazine
files, A great, inexpen¬
sive way to keep your
valuable issues neat,
clean, and readily avail¬
able for easy reference!
Each file holds 18 issues, looks
like leather, and comes in vivid
blue with MD*s imprinted logo
type and trademark in rich
gold.
Just $6.50 each, postpaid
or, if you order three or
more just $5,85 each, post¬
paid.
Please send me file cas¬
es. My remittance is enclosed.
Name __
Address
Zip
City _ _
State _ __
Mail to:
The Highsmith Company
PO Box 25 MD
Fort Atkinson, W1 53588
mendous record collection that I don't
need to buy any. When I move out, then
maybe I'll have to start thinking about
that.
SF: One of the greatest advantages you
have is the knowledge of the whole span of
jazz.
TLC: Well, his records are like a library.
He's got so many records that I still have
never heard.
SF: Were there any favorite albums that
you liked to listen to?
TLC:I remember my little portable record
player—a little kid's record player—and I
would play—over and over again—the
Fifth Dimension's "Aquarius."
SF: Would you join a rock band?
TLC: I think I'd do a gig or two here and
there. But, I would never go on the road
for months with them.
SF: You mean if you had the opportunity
to join Earth, Wind & Fire you wouldn't
do it?
TLC: Not for any long period of time. I
love the music. I love to listen to it and I
love to dance to it. I love to sing with it.
But, playing it is a different story. Earth,
Wind & Fire is probably my favorite funk
group, but the drums for those kind of
songs is so simple. You run into the same
beat over and over. A drummer has to keep
time for them strictly. How many times
does a drummer get a solo? I like bebop.
SF: I often get letters from readers your
age asking the question: "How am I going
to make a living as a drummer?" Does that
question ever enter your mind?
TLC: I hope I establish myself—between
now and the time that I have to pay bills—
while I'm in college, so that I'll be able to
work. That's what I plan on doing.
SF: Do you read books or do anything to
keep yourself motivated and thinking posi¬
tively?
TLC:No. I don't think it's that much out
of the ordinary. I think most people try to
think positive and have aspirations.
SF: You have the rare combination of be¬
ing able to back that up with action—going
out and doing it. There are few people who
are willing to put the action behind the
dream.
TLC:That's true. Remember when I was
telling you about my teachers Keith and
Alan? I'd like to add Lenny Nelson. He's
really a talented person and a really tal¬
ented drummer. There are not a lot of peo¬
ple who can even play some of the stuff he
plays. He came over and gave me a few les¬
sons too. One other thing about influences:
I think there was a stage when I would lis¬
ten to people for a few months, then put
them away and listen to somebody else. I
listened to Elvin Jones and Art Blakey.
Those two people were the ones I listened
to most.
SF: What did you like about Elvin?
TLC:Elvin's whole total concept. Nobody
else plays like that. It was the hipness. Es¬
pecially when I was younger and trying to
get hipper; trying to get away from playing
ding-ding-da-ding. I had to listen to Elvin
to open my ears up. It worked! I never
tried to play like him. What happens is, I'll
listen to somebody, and then subcon¬
sciously I'll start doing little things and
adapting their feel. That happens a lot
when I sit in. I'd sit in with a lot of people,
and a lot of times—I don't know why—I'd
start playing with the same feel as their
drummer was playing, because I'd heard
him all night. I'd always sit in at the end of
the night.
Recently I sat in with Dexter Gordon in
Massachusetts and his drummer was Eddie
Gladden. He had a certain style. I sat in
with Dexter and I know that I was adapting
Eddie's feel, which I normally don't do.
So, when I listened to Elvin I'd sit down
and try to adapt his feel. You can't copy
somebody like that.
SF: What did you like about Art Blakey?
TLC: I associate Art Blakey with thunder.
He's just such a thunderous drummer. I
loved it and I still love it. His buzz roll is
incredible. There's no other drummer now
who can play the buzz roll like that. I don't
care who it is. One day I'd just like to have
the power behind my buzz roll that he has.
He pushes the band. He's a driver. Like my
father explained to me: Art Blakey's a
driver like a powerful train. The train is
moving. When Art Blakey plays it's like
he's pushing the train.
SF: You used to go into clubs with your
Dad a lot?
TLC: Yeah, and he'd analyze things for
me when I was younger, until I got a mind
of my own and started to get my own opin¬
ion. My father's very knowledgable as far
as music. I was fortunate for him wanting
to do it for me. So many people's parents
don't give their kids any instruction or en¬
couragement. I honestly don't think I'd be
playing today if it wasn't for my parents.
It's like I was born to the right parents.
SF: How do you balance your social life
with your career?
TLC: Well, I date occasionally. I have
plenty of friends, plenty of male friends.
It's not hard for me to balance the two. I
think you have to live first. Enjoy yourself
and enjoy life. Music is a definite part of
your enjoyment of life, but there are other
things too. So, you don't become narrow
minded. Develop to a well-rounded per¬
son. I feel I'm pretty well-rounded.
SF: Do you think in terms of having a fam¬
ily or are you still too young for that?
TLC:I don't really think much about that.
I feel I want to get married, but I don't
think of kids. Did you know I got a schol¬
arship to Berklee? Back in 1977 or '78 Os¬
car Peterson was playing at the Boston
Globe Jazz Festival. I was talking to him
after the concert was over. I said, "Clark
Terry told me to tell you hello. I played
with him last night." He said, "What?
86
MAY 1983
You played with him?" I said, "I played
drums. I played two sets because the drum¬
mer didn't show up on time." This was
when I was 11 or 12 years old. Oscar says,
"Keter Betts! Leave your bass up." He
asked me to play one tune because he just
wanted to hear me, I guess. It was at the
end of the festival and people were still
walking out. They saw Oscar come out and
people ran back. About half the people
were gone. Luckily, the President of
Berklee was there. We played a blues. So,
he offered me a four-year, full scholarship
to Berklee when I was 11. I was taking pri¬
vate lessons at the time with Keith Cope¬
land.
I sat in with Buddy Rich's big band three
or four times. He was responsible for me
getting endorsements from Zildjian. Then
Zildjian talked to Slingerland. They were
in the club when Buddy was playing. They
go to support the artist. Buddy Rich asked
me to sit in. I was scared to death! I was
about 12. We played "Chicago." The next
thing I knew I was getting an endorsement
from Zildjian. A lot of people have said a
lot of derogatory things about Buddy, but
he's been nothing but nice to me. He's a
hell of a guy. I love Buddy Rich. He
brought me on the To Tell The Truth
show. He came on and played a little three-
minute drum solo. They had me and two
other girls. They said, "Will the real one
please stand up?" And Buddy Rich came
over and stood me up.
SF: What do you see as the drummer's role
in a band?
TLC: The main function is to keep time
and also to enhance everybody else; to ac¬
company all the other musicians. A drum¬
mer is an accompanist. Of course, you
have drummers who are leaders. Art Bla-
key, one of the biggest drummer/lead¬
ers—look how well he accompanies all the
band members. That's what makes him so
great. That's one of the first and foremost
things for a drummer. Accompany the
others and know what not to play. To not
be overbearing. Blend in and keep the
time. Make the music swing, if that's what
you're playing.
SF: Do you think a person can learn how to
swing or do you think that's another natu¬
ral gift?
TLC: No. I think you have to feel it; not
learn it. Swing is to be felt.
SF: Have you done much work backing up
singers?
TLC:Not for a whole gig. I've sat in with a
bunch of different singers: Joe Williams,
Betty Carter, Helen Humes, John Hen¬
dricks.
SF: Have any of these great musicians
given you "truths" that you carry with
you?
TLC: Well, they've all given me spot
things. Even to this day. Things like ac¬
companying a bass solo. How to lay back.
A lot of bassists have told me never to lay
continued on next page
Killer Cowbells
Here, finally, is the killer cowbell for rock and roll. Plenty
of cutting top end. extra solid midrange punch and
guaranteed for life against weld separation
The Jopa Rock Cowbell is available in three sizes and
three finishes — natural, buffed and gold Available at the
best percussion dealers
D^tribijtea &x£lu&ts/ety by
Casino Percussion Products
PO Box 372, Plain view. NY 11803 (516) 221-3636
MAY 1983
87
Service is what I
really sell!’
\ It it <il s I hits ;irr in thHuisi-
iH'ssul srllii^dmius- which
is hll well .1 1 id . Im
I llOllK
Mir?
[ approach tilings a liltlc fli II tic ml !y, because m\
place is in ihc business ol M'rviehi^ Hie needs (if
drummers... bfjlh pmles.smiUiLs and those who aspire
h> I m*. Thai means m 1 tin it all. From rust t mi-desi^n ini'
and budding drums, UHilfering von u romplele selection
I mi ii (ii’fftsi h In Shn^rrland, Yamaha, I iiriwit', Sonar
anil Drum Workshop. We also carry a uide srleelinn
nl A. ZddjiaiL K. Zildjian, Saliian and Paistc cymbals. in
iiddilinn iniiiiMiun rushi mi zed Iini 1 nl highest qualil v
* r IUjI uiii- ei i>>t claim In lame is our
ahilily in service any p rod ut t we sell
Somethin*' dni's wnnW, we fix ii ri^hl the
Ill .S i
lust ask anyhndv ulin knows ii
mm*. ... rm ...
HfTUeM-mihM. \nw York. \.V UKYMi 2l'Z .77a-KH9d
out. Always have something going in the
background during a bass solo. Sometimes
the drummer will lay out totally and let the
bass just go. Buster Williams said, "Don't
do that. Always keep something to go by."
I've gotten a lot of advice but nothing
that's dwelt in my mind. I remember once
when I was playing with Clark Terry when
I was 11. He said, "Okay, we're going to
play a shuffle." I said, "What's a shuf¬
fle?" He explained it to me and I played it.
I knew what it was, I just didn't know the
name.
SF: Have you ever messed up on stage?
TLC: Plenty of times. Once I sat in with
Dizzy Gillespie and played "Scrapple
From The Apple." I didn't know the song!
I was about 11 or 12. He does a certain
thing with the beginning where the bass
player plays the melody. When the bass
was playing, it sounded like funk to me. I
was confused. So when the melody time
came I started playing a funk beat. Then I
realized, "I think this is supposed to
swing." After that I was alright.
SF: Did that incident get you down?
TLC:Yeah! I was so upset.
SF: How did you get over it?
TLC: By another good experience that
would come later. That made up for it. Lit¬
tle things bother me. Within the past three
years or so I play the form to tunes no mat¬
ter what I play. Unless it's a tune I don't
know and I mess up the form. A lot of
times I'll play the melody outright and the
bandmembers still don't come in on time!
And it blows my mind! It bothers me be¬
cause I know that I've worked hard to stick
to the form and play musical. Why
couldn't they follow it and come in on
time?
Another thing that bothers me is that a
lot of drummers—even some of the best
drummers—don't play form anymore.
SF: Can you give me an example?
TLC:Elvin Jones.
SF: Well, we both know that Elvin has the
ability to play the song form in a solo.
What about a drummer's license to play a
free-form solo?
TLC:Oh no, it's not bad. I don't see why
drummers would do that all the time.
Every solo they take? No form? Why
would do you that? It's different with the
great drummers like Elvin. You know that
he can do it, and they do do it sometimes.
But, there are a lot of young drummers
I've heard that are students, who will be
playing a tune, then they start soloing and
don't think the first thing about form.
They start changing the tempo and every¬
thing. They'll start playing funk in the
middle of a jazz tune. That's good for col¬
oring sometimes. But, not a whole fusion
solo in the middle of "Night In Tunisia." I
see that happen all the time. It just bothers
me.
SF: Maybe that's because many drummers
have an overbalance of rhythmical train¬
ing and not enough melodic training.
TLC: Alan Dawson never takes a solo free
form. He's such a fantastic guy and I think
he's so underrated. A lot of people just
don't know him. I'd suggest young drum¬
mers learn music and form. It takes away
from the music and the song if you go out
on a whole other plane. It bothers me if
somebody can't play within the realm of
the song. I guess that's been drilled into my
mind from Alan. But, the great musical
drummers who don't do it—that's differ¬
ent. They've already proven themselves.
They don't have to prove anything. Young
people don't feel like playing form because
they want to make it a big drum show. A
drummer said to me once, "You know
what I'd just love to do? I want to study
with Louis Bellson or Buddy Rich because
I want to learn how to just take a mon¬
strous drum solo!" And that's all he cared
about. I said, "Well, what about the other
things that are important?" He said,
"Well, if I can do that, then I'm not even
worried about the other things." I didn't
even waste any more time talking to him. I
know a lot of drummers who feel that way.
SF: Are there any people you'd like to meet
that you haven't met yet?
TLC: On the jazz side I've met them all.
88
MAY 1983
I'd like to meet some "stars." Natalie
Cole. Diana Ross.
SF: What would you want to ask them
about?
TLC:I'd ask them the secrets to their suc¬
cess, other than the talent.
SF: Have you done that with drummers?
TLC: No, I've been more of a listener and
taking whatever they say. I don't like to get
too personal.
SF: Do you see yourself someday doing the
same kind of thing as Natalie Cole and Di¬
ana Ross?
TLC: Yeah, I actually do. I don't know
why. I plan on taking some voice lessons.
See, what I want to do is enjoy myself for
the next 10 or 20 years, and play this kind
of music that I really love. But, if some¬
body offers me a lot of money to sing—I
don't know if I could refuse it. I just want
to be in entertainment. I'd never give up
the drums. I wouldn't end up playing
funk. I could think of a mixture with some
jazz, just to satisfy my own needs. If I
played commercial music I'd have to mix a
little swing in there. Herbie Hancock does
it. He plays commercial and he plays swing
still.
SF: Do you find a conflict between playing
commercial music and jazz?
TLC: Yes, I do. But I haven't quite figured
out how to deal with it. You can't record
both. Record companies want you to play
either all funk or all jazz, I think.
SF: Do you find an attitude of bitterness
among some jazz players often times?
TLC: Yeah. A lot of them are very bitter
and rightfully so. They haven't gotten rec¬
ognition that they deserve. There are other
people who aren't as talented as they are
that have gotten that well-deserved recog¬
nition. And the money that the jazz musi¬
cians don't make—everybody else makes
in music. Rock. Funk. I mean, I love that
music too, but why can't jazz be up there
with it? It's two totally different markets.
SF: I've noticed two things that I feel are
holding jazz musicians back financially,
especially the younger players. One is that
most jazz musicians have an attitude that
"jazz isn't for everybody." I think they get
hung by the tongue. I've also noticed that
jazz musicians aren't as willing, generally,
to stay together as a band to create a tight
sound as the rock musicians are. If you'll
remember, all the greatest jazz bands have
been together for extended periods of
time.
TLC: That's true too. I still don't think
that they'd get as much recognition as the
rock groups. No way. That wouldn't really
change the state of where jazz is on the
market. It would help some. Yes, you're
right about that. But, I think it's maybe the
intelligence of the average American per¬
son. Jazz is a harder music to understand.
A lot of people don't even have an appreci¬
ation of it. But, people could. I think jazz
could be for anybody, but they don't get
the opportunity to hear it. Turn on the ra¬
dio. Everything you hear is rock, funk, fu¬
sion or whatever. Look at T.V. It's the
same thing. Go to school. It's the same
thing. If young children got an opportu¬
nity to be exposed to jazz, I think it would
make all the difference in the world. I play
for young kids, and some of them have
never heard jazz . They're amazed. They
love it. I mean, little kids. I think that's the
only thing that would change the state of
where jazz is monetarily. You can't start
them hearing it when they're 15 or 16 be¬
cause they're already in a different direc¬
tion.
SF: Remember in the '30s—the Big Band
Era—jazz was the popular music?
TLC: Yeah. Even in the '50s popular mu¬
sic was closer to jazz—the older rhythm &
blues stuff. People go with the trend. Peo¬
ple go with what they've heard. You can be
brainwashed easily, and that's all they
are—brainwashed. / get brainwashed
from listening to rock and funk stations on
the radio. Songs that I never liked I start
singing and liking. It happens and it burns
me up. If they only did that with jazz.
SF: Have any of the older musicians like
Max Roach or Roy Haynes ever spoken
with you about that aspect of the business?
TLC: A little bit here and there. I don't
think negative. All I think about is stand¬
ing up there next to all those people who I
admire so much. I never think about get¬
ting in a rut. What I want to do is establish
myself someday like some of the new
younger musicians, like Wynton Marsalis.
I just want to stand next to them one day,
hopefully not too far in the future. |^fj
^ in
0« 10 pro
o\ V , ^
A -ii
800 - 336-0199
IN VIRGINIA 703-530-9510
rolls
lusic
inc.
1065 Vest Brood Street. Falls Church, VA 22Q40
Guitars * Amps * Keyboards * Drums • P.A. * Lighting
In l he Big Appl
c
Highest quality
instruments and
accessories at
lowest prices
WE SHIP ANYWHERE
Send us your name and address
for our mailing list
Vfutmm&i4 iVottd. NC
New York's Percussion Headquarters
133 W 45 th Street • NEW YORK, N.Y. 10036
Phone <212)-840-3057
MAY 1983
89
Transcribed by David Wood
Snare Small Tom Floor Tom
Dannie Richmond:
'Three Worlds
of Drums"
From the album Me, Myself An Eye by Charles Mingus (Atlantic SD-8803).
Bass Drum H.H.w/Foot Crash Cym. Cym.
j = 160
//
i ft m
rr 7 r r
xl
i~i f~t i
//
J.J 1 «
Mi
1
3 3 3 3 3
r - J *=y j :
jute ™^jx_ ~m m~ g—-fl 1 ‘‘R B - j;- # ma |
XL. .2. J */ j ^ J
r w ij m r T rr*j 47 ^ 1 rrr It
i] >_=3 m m m
m J 1 pi .7. a
w m m f r Wwm x __ m mww_ 9 mm mm
— J — —
« >»> 9
90
MAY 1983
0=1583 ^ ,—3 —,,—3—, ' 3-ir—3-t,— 3—,
1T 1 1 1" rri -ri ,~TB
xMi ff] Fflr-FTi- m- fl—n i n n i i -t-pr
4-1- JJJ JJJ J JJ
_I_I_ 1 1 i MW {J
w m^*r m \ m rm i m mn wwi m m ^m -w m jr
m ^ m m .__ -
* -^-* ptb
if- ,13»f» “»»»» Jdiiti-
mr
n if t ' a* i i
r 1
J-S 1
* I * f
l
PP mf'
fJ-W'Jf
This transcription is from For The Record, a new book of drum solos by some of the world’s greatest drummers, written by David
Wood. (gg
Success means having the
right connections.
If your microphone goes dead duringa performance, you'll never
hear the end of if. That’s why Shore designs and builds microphone
cables lo insure optimum audio performance under the worst
possible conditions.
This design superiority is most apparent in the critical area where
the cable and connector meet—the cable connector interface, 1 lore,
special design attention insures long-life durability and flexibility.
On Shore's “Triple-Flex 11 " cables, for example, a unique flex relief
allows you to use this thin cable without it breaking or kinking.
Shore cables are also subjected to the most rigorous tests in the
industry for appearance, strength and durability. For example, they
must undergo a variety of environmental torture tests, including
temperature extremes of 20° to + 16TF and humidity of 95 to
In addition, they are subjected to a series of stress tests includ¬
ing rocking, pulling and twisting to insure strength and long-life
flexibility.
And, to guard against on-stage signal loss and external noise
interference. Shore cables are designed to pass rigid capacitance,
leakage, and shielding requirements.
Its no wonder Sh ure "Audio Connection 1 ' cables are the industry
standard. Shu re Brothers Inc*, 222 Hartrey Ave,, Evanston, IL
60204 , ( 312 ) 865 - 2553 .
THE SOUND OF THE PROFESSIONALS \ * .WORLDWIDE
91
Hotels continuedfrom page 23
more than paying for the entertainment
costs, and after breaking down, packing it
all up, and shaking hands all around,
Binky Tom and the Starlighters depart for
their next gig in eager anticipation of re¬
turning here to do it all over again.
They never hear from the place again.
Housekeeping conferred with the front
desk, front desk with management, and
the fact that Binky and the boys brought
the house down in an all-too-literal sense
becomes painfully evident after inspection
of the rooms.
Lamps are broken, towels and ashtrays
missing, upholstry torn and stained, cur¬
tains hang limply from the rod by one torn
corner, drains backed up, toilets plugged,
sinks stained and scratched, and the car¬
peting appears to have been utilized in tex¬
tile experiments for National Dye and
Wool. The rooms have taken on an odor
all their own—one of aged beer, tobacco,
and discarded food, the aroma transcend¬
ing into the hallway and throughout the
entire first floor.
The result: Five rooms, which were to be
given to the next band and all groups there¬
after, are closed down for extensive repair
and cleaning. Combined with the flurry of
reported atrocities, after-hour complaints
and front-desk phone calls, Binky Tom
and his pack can rest assured that they
have effectively destroyed their credibility,
the over-all reputation of bands in general,
and bestowed a bitter taste of contempt
and suspicion in the minds of the hotel
staff.
The next band arrives. They are greeted
with sour faces, antagonism, and an im-
promtu list of hardline house rules and reg¬
ulations.
The bottom-line tragedy is that from
that day forward, no matter who is booked
into the room—no matter how amicable
the relationship, or trouble-free the inter¬
action of musician and hotel employee—a
prejudice of astonishing heights prevails to
all entertainers. All because a group of
highly skilled, talented performers, who
take pride in doing good business for the
club and providing a good time for all
those who come to catch their act, ne¬
glected to remain human after working
hours.
Thus, the now infamous stigma of the
musician.
Fortunately, the less-than-elite, battered
and bronzed band remains a minority. For
the most part, we are hardworking, consci¬
entious, clean, intelligent artists who take
pride in our work and embark on the ever¬
lasting endeavor to uphold our social posi¬
tions and artistic status.
But fifteen weeks of hassle-free, amica¬
ble working relationship can be effectively
and completely obliterated by two weeks
of stolen ashtrays, damaged bedding, af¬
ter-hours inconsideration, and televisions
which find themselves thrust through the
nearest wall or window. Or how about the
mob of lovable, but never-the-less ques¬
tionable, giggling, starry-eyed "group¬
ies," who tramp through the lobby in their
skin-tight blue jeans and T-shirts.
If you have obtained a certain level of
reputable rapport, and your band has yet
to suffer the blows of pretentious snob¬
bery, your accomodations are most likely
within the hotel in which you are working.
Not every band is allotted the privilege of
this kind of convenience, and this gratuity
should be appreciated and held as a source
of pride.
Okay. Let's take things step by step in
our quest for equitable treatment.
The Confirmation Phone Call
Hopefully, we can finish our last night,
tear down, get some sleep, and the issue of
routing, a crucial consideration in this day
and age of exorbitant gasoline prices, will
have been worked out realistically, thus al¬
lowing ample time to arrive at the next gig
the following night, fresh-faced and ready
to check in, meet the bar personnel, intro¬
duce ourselves to the management, and ex¬
perience reasonably hassle-free business
relations.
Always remember to telephone ahead to
the next job, sometime toward the end of
the week at your present gig, and get on the
line to whoever is delegated the responsi¬
bility of your accomodations. Get any dis¬
crepancies and misunderstandings out of
the way before your arrive. This should be
handled by you, and not left up to the
agent, for, in many cases, the gig is set
months in advance. It is well worth the
long-distance expense to phone ahead and
have everything cut and dried before de¬
ciding whether to embark on your journey
after the gig, or wait until well-deserved
shut eye. This is not foolproof, however,
and many times, no matter how meticu¬
lous the game plan, hassles do arise due to
a lack of communication or instruction
(more on that in a minute). The confirma¬
tion call should alleviate most, if not all, of
the pitfalls and obstacles of the initial
check-in process, and also provides your
first dosage of conscientious businessman-
ship to the party on the other end of the
line.
The Check-In
It is absolutely necessary to present
yourselves, on first contact and impression
to the lobby personnel of the hotel, in the
most business-like, equitable manner pos¬
sible. This means clean clothing, clean hair
and at least tolerable breath. Okay, so we
all know that sometimes it's out of the
question to appear anything more than
embalmed, especially after a thirty-two
hour jaunt across the Midwest without
sleep and over-indulging in coffee, ciga¬
rettes, and junk food. But if at all possible,
take that well-invested shower before leav¬
ing, wear clean clothes, and be sure your
breath is nothing less than sweet. By clean
clothes, we don't mean faded blue jeans
and tank tops. We mean good, yet casual
attire, something you might wear to a nice
restaurant, or to a club when checking out
the competition. Remember, you're deal¬
ing with administrative personnel here,
folks who are accustomed to wearing their
three-piece suits, or company jacket or
uniforms. The sight of unknowns walking
into their nice, clean lobby attired in some¬
thing that could very well double as auto¬
mobile maintenance threads, doesn't
make it. Contrary to popular misconcep¬
tion, hotel/motel personnel, especially
management and front-desk crews, have
not developed a propensity to welcoming a
group of unkept, woebegottens into their
organized corporate lives. The portrait of
the hard drivin', hard rockin' rebel boy is
only glamorous to garage band hopefuls,
prepubescent groupies, and Hollywood.
Most others find nothing hip in sloppy pre¬
sentation.
As crazy as it may sound, if you have a
long jaunt ahead of you, and even if you
have to depart immediately after tearing
down and storing your equipment in a sea
of sweat and grime, leave out a clean shirt
and trousers from your wardrobe bag and
before walking inside that next hotel
lobby, pull into a rest stop, change into
something presentable, comb that hair,
wash that face, and if your toothbrush is
out of reach, invest in a package of breath
mints.
So now you have finally arrived, you can
tell right away that the front desk is blown
away by how beautiful and clean you all
are, and now it's time for the next hurdle.
Remember the blonde cherub behind the
front desk? Do not slight her. Don't dis¬
miss her as just another employee who
happened to pull late duty. Unless you've
been there before and know the place and
all of its employees, you don't know what
her function, other than night auditing,
might be. She just could be the owner's
daughter. To offer the eloquent, "May I
speak with someone in charge please?" at
the first sign of misunderstanding may be
lethal, especially in this day and age of lib¬
eration, and you will leave an irreparable
scar through such negligence.
Hopefully, depending on the hour or the
day, the one to talk to will be available and
you will be able to confront them one on
one, in which case the situation can be
dealt with neatly and peacefully. Whoever
is available for negotiations, retain a cool
composure and pleasant attitude. In most
cases there won't be any hassles; the rooms
are usually ready and waiting, and most
hotels will provide a weekly rate or dis¬
count and sometimes will even throw one
in free of charge if occupancy is down and
another is needed. In the event of a prob¬
lem, keep a cool head and hopefully the
rest of the band can be counted on to act
accordingly without everyone shouting to
92
MAY 19&3
the confusion of yourselves, the front
desk, and anyone within listening distance.
Keep in mind that there remains the chance
that the person checking you in has little or
no idea what was said over the phone or
negotiated within the contract, and are
thus following instructions or company
policy. And if you are tempted to blow up
and vent your spleen in an effort to secure
your terms, remember: whining, com¬
plaining, and shouting will only place your
employment in jeopardy and could quite
possibly send you down the road without
the gig. At this stage of the game, they have
nothing to prove to you. You have every¬
thing to prove to them.
The bottom line is, they need a band,
you need the gig, so consequently, some
type of arrangement can be met. Grit your
teeth, swallow your pride, and smile,
smile, smile. The entire affair will be much
sweeter.
So now you've arrived, clean and pol¬
ished, everyone was cordial, and any prob¬
lems and misunderstandings were handled
amicably and peacefully. You have pre¬
sented a dynamite first impression to the
hotel staff and have received your room
keys.
Unfortunately, there are those who still
adhere to the misconception that musi¬
cians live out of one or two suitcases and
handbags, and can thus trot up twenty
flights of stairs to their designated rooms.
If you are at all like me, you may well have
receivers, turntables, small refrigerators,
several wardrobe bags, and mountains of
storage boxes and briefcases, all of which
are necessary in accordance to occupation
and lifestyle.
Don't make it an issue if they can't pro¬
vide you with a ground-floor room. Appre¬
ciate what is given and thank them kindly.
You could have been put up in "budget
branch" across the street.
Room Cleanliness and Etiquette
The world of the hotel staff is a small
one. The head of housekeeping may very
well "hobknob" with the front desk man¬
ager. The maintenance chief may have re¬
ceived lifetime employment for saving the
life of the hotel owner in Korea.
Your room should be kept as meticulous
as possible. If you share a room with some¬
one, formulate a plan of organization so
that things don't become mislaid, mixed
up, or generally disheveled. Though stor¬
age and closet space is often times minis¬
cule, a neat, unobstructed floor plan can be
reached to provide ample walking and liv¬
ing space for one or two. Keep clothing
hung up in closet areas, suitcases placed
under beds or out of the way in corners,
and all storage boxes either stacked neatly
against the wall on one side of the room or
carried back out to your vehicles. Keep the
pathway clear for yourselves and for the
maids. Instruments and practice parapher¬
nalia should not be left resting atop televi¬
sions, tables, or leaning against the bed or
the bathroom doors, a failing which pro¬
vides a sure-fire trip to the local music store
for unexpected repairs. Whatever the
available living space, the key here is tidi¬
ness and organization. Pick up your dirty
laundry, place it in your laundry bag or
burn it, but never leave it lying about the
floor or thrust under a bed or dresser to be
discovered at a much later date either by
you or by housekeeping. Ash trays should
be kept clean and dumped after becoming
full, waste baskets emptied in the waste re¬
ceptacles outside, and not left solely up to
the maids, for, in most cases, the band
rooms are cleaned every other day, and by
that time, overflow is quite possible.
Place yourself in the housekeeper's posi¬
tion for a moment. Okay, so it's her job
and she should thus be prepared for its pit-
falls and liabilities, but c'mon, let's be a bit
more sympathetic to her situation. She has
probably been assigned a section or floor,
depending on the size of the establishment,
with several rooms to clean daily. In most
cases, her ritual consists of a careful clean¬
ing and disinfecting of the bathroom, a
change of linen and towels, disposal of
waste, and the once-over with a damp rag
or dustcloth. But, when entering the band
rooms she is immediately taken back by an
array of obstacles, some or all of which she
doesn't understand and hasn't seen be¬
fore, and is thus terrified to touch. She is
generally open-minded enough to appreci¬
ate the fact that the musicians are weekly
guests and therefore allowed certain slack
in organization and storage (as opposed to
the one-nighter who brings in one suitcase,
and leaves the following morning generally
not having used the waste baskets,
dressers, or clothing rods). However, if an
ugly display of discarded bottles and cans,
empty pizza cartons, smoldering smoking
paraphernalia and the like are in evidence,
you can rest assured of a less-than-meticu-
lous cleaning job. Many housekeeping per¬
sonnel are instructed to report to the man¬
agement any and all unusual goings on in
the rooms, hassles, or abusive treatment of
property. And if your room reeks of stale
grease and last night's cheeseburger, this
will also be reported, along with an exag¬
gerated account concerning fire code viola¬
tions and ants.
This is not to discourage room cooking
by any means. In this day and age of soar¬
ing food prices, many of us are preparing
our own meals in our rooms. This is a great
way to save on cash, but can be a total ca¬
tastrophe if not conducted properly.
(1) Food cans, boxes, cartons, and
wrappings, once used, should be disposed
of properly. Soup cans and the like should
be rinsed out before dropped into waste
containers.
(2) All cooking utensils and parapher¬
nalia should be cleaned immediately after
use and not left to reek throughout the
room, then placed or stored in a designated
area, out of the way of the maids and your¬
selves.
(3) Invest in as many air fresheners and
sprays as you deem necessary and place
them strategically throughout the room.
(4) Get yourself a good electric air
cleaner/freshener.
(5) Clean and wipe out sinks, tubs,
counters or dressers, wherever your cook¬
ing takes place, and don't leave any grease
rings or smears about the walls and furni¬
ture.
(6) Open up those windows, and let a lit¬
tle air into the room, and when doing any
type of frying, it's a good idea to place a
folded towel under the crack in the door to
prevent odors from escaping into the hall¬
way.
(7) Do not throw anything down the toi¬
lets that cannot be flushed easily and com¬
pletely, and shy away from pouring grease
in the sink or the toilet. After several trips
by maintenance to your room to unclog a
drain, your cooking privileges will be
promptly negated.
(8) Never leave bones or food remains of
any kind to rot and swelter in the wastebas¬
kets. Place them in an empty milk carton
and dispose of properly in the receptacles
outside.
(9) Keep all spoilables chilled properly,
either with a large cooler and ice, or a port-
continued on nextpage
MAY 1333
93
able traveler's refrigerator. (I have carried
a small Gerard for about two years, it cost
me 90 dollars, works like a charm, and I
have yet to hear a complaint about its ob¬
struction.)
(10) Do not use hotel towels and wash¬
cloths for your dirty dishes, for dusting
and cleaning of instruments, or for re¬
moval of make up, but rather, invest in
some cheap disposable paper towels, or
better yet, your own set of cloth dish tow¬
els and rags. Many hotels have begun
charging bands for damage or thievery of
these things, so if you're guilty, knock it
off!
(11) The air should not hint of anything
but local atmosphere and housekeeper's
disinfectant. As a test, walk outside your
room, close the door, wait a moment as
you breathe the air, then re-enter. If you
can sense even a minor odor of food or gar¬
bage, then do something about it, either
with an opened window or a spray air
freshener.
This may all sound trivial or "nit-
picky" to some, but we're dealing with
common sense tactics here. Again, I am as¬
suming that those reading this article are
not the million dollar boys. Therefore, un¬
less you can have accountants pay for your
good time and destruction without making
a dent in your bank account, it's best to
play it safe.
I have known of cases, one in particular,
where pork chop bones found themselves
thrust into the toilet, causing back-up, wa¬
ter damage, and general havoc, and the
guilty band was forced to a return gig just
to pay for their damage. After two week's
work, they left town with three hundred
dollars between them. Or in another case,
the band decided to do a little fishing, were
picked up and brought in by the local game
warden for not having a license, had to be
bailed out by the hotel Assistant Manager
(who wouldn't have bothered, but needed
them on stage that night), then proceeded
to clean their catch in the bathtub, leaving
the remains for the maids the following
morning.
My point is, if you have any doubts or
reservations on the legitimacy of some of
the above horrors, these things do happen,
and all contribute to our less-than-spar-
kling reputation with the masses.
So yes, your room is your home for the
duration of the gig, your solace from the
pressures and intrusions of the world, but
it is not your property and should thus be
treated with common-sense care and re¬
spect. Don't be foolish enough to think
that if you do a slam bang job in the club
every night, you can neglect common cour¬
tesy and cleanliness, talk down to the staff
and make general havoc of the room. It all
comes out in the wash and you are the
losers. Do nothing to or within the room
that you wouldn't do in your own home,
and if you happen to be a notorious slob or
irresponsible maniac even in your own
home, do us all a favor and get off the road
because you're making it tough for the rest
of us.
Which brings us to the most notorious
of our supposed failings: The "after-hours
party."
Let's admit that we have to be on and
able to produce excitement, vitality, or vi¬
olence, depending on your respective facet
of entertainment, after which time we have
to "comedown" from it all and eventually
sleep. In fifteen years of professional
work, I have yet to meet the musician who
can fall asleep an hour after the show.
This winding down process may take
several hours, so why not, then, utilize this
free space in enjoyment of a party? Ter¬
rific. But let's keep in mind that this is a
business we're in, not one perpetual good
time. For reasons of professional etiquette
and reputation, it's wise to keep your par¬
tying down to once or twice a week, for if it
becomes a nightly affair, your perform¬
ance and professional rapport will suffer
and inevitably contribute to your physical
and mental mileage.
During the after-hours funtime, keep a
few things in mind. One is, you are not the
only guests on the floor. Keep the music,
laughter, and the romance tuned to a toler¬
able level or you will be greeted by a grim¬
faced general manager the morning after.
On the questions of friends, sometimes
referred to as "groupies," use discretion
and avoid the loudmouth with a propen¬
sity for over indulgence. If you are to see
them after the gig, figure on a secluded
area of the parking lot (keeping in mind
also that their automobiles should not
screech to a stop on the grounds in the late
night or early morning hours) and instill
upon them the virtues of silence until they
reach the sanctity of your room. No hotel
looks kindly on giggling, yelling, painted
"star babies" parading through the hotel
in their less-than-acceptable attire. This
sounds funny, but remember, these types
of occurrences do happen and literally turn
off the management and guests.
All in all, it is almost a necessity to un¬
wind and a party is a great way, but again
those who indulge in such things con¬
stantly, on and off the stage, are rarely
taken seriously by the management and are
usually the last on the list for return gigs.
The above tips can be applied also to the
situation where your rooms are located in
an area other than the hotel or establish¬
ment where you are working. Any other
problems that may arise in that type of sit¬
uation are usually self explanatory and re¬
solved through common sense (often times
any doubts and/or mysteries are immedi¬
ately explained by the strategically posi¬
tioned notes and reminders taped by the
management on the walls throughout the
room). As an added bit of etiquette, re¬
member to give your room the once over
before checking out and hitting the road.
Leave it as clean as when you arrived.
Place ashtrays in one area, towels stacked
neatly in the bathroom, and time allotting,
empty the garbage baskets. This will be ap¬
preciated by the housekeeping staff and
also cut the waiting time down for the next
band who has to occupy these facilities.
Daytime Hours
Unless you suffer from insomnia, you
probably don't want to be disturbed in the
morning by a knock on the door or a phone
call from the maids.
This problem is quite easily rectified in
one of two ways. One is to have a talk with
housekeeping and inform them, nicely,
that you are up late and thus must sleep in
the morning. If that doesn't do the job,
take the obvious, and my personal favorite
remedy: remove the receiver from the tele¬
phone cradle.
Once you have decided to start your day,
and depending on what you plan to do or
where you plan to go, dress accordingly.
The wardrobe question is still an impor¬
tant consideration even after you've set¬
tled in and had your first night's perform¬
ance, especially if you plan on dining in the
hotel restaurant.
Show that you belong to the world of
common decency and cleanliness and
don't parade around the lobby, hallways,
or dining facilities dressed like a sleepy
hobo. One can recall the instance of catch¬
ing the discerning glimpses and visual at¬
tacks of the hotel staff, eventual on-the-
spot interrogation by an uninformed yet
concerned employee, and inevitable public
embarrassment. Use consistent courtesy
when dealing with the front desk, whether
you are picking up your mail, cashing a
check (which I'll bring up later), or shoot¬
ing the breeze. Don't be impatient with
them if there is a mix-up in the mail slots or
message lights. Smile, bide your time, and
walk away in the smug knowledge that you
wouldn't make that same silly mistake.
When eating in the hotel dining room,
be polite to the waitress, and if service war¬
rants, leave a generous tip. Again the ho¬
tel/motel world is a small one and abuse of
the waitress staff travels far over employee
coffee breaks. That is not to say that one
must retain perfect manners and etiquette
when you have an incompetent witch on
your hands, but usually this isn't the case.
The girls (or guys) generally try hard to
please, for they need those tips in supple¬
ment of their less-than-healthy wages, and
thus will do their best to serve, especially if
they know you are a built-in customer for
two weeks. Play it by ear, leave a tip, smile,
and you can bet on astonishingly prompt
and reliable service whenever you walk in
the place.
The next, and final issue, alongside
room cleanliness and organization, is un¬
doubtedly the most damaging in regards to
94
MAY 19B;±
Bod Bod McAfee, who has backed many top Nashville stars, has
now combined his talents with three top jazz musicians in the ere-
at ton of McAfee’s Breeze, an album of intensified jazz.
As you listen to this album, you will feel the creativity, power and in¬
tensity that drove McAfee as he shattered the Guinness World Rec¬
ord for continuous drumming. Listening to McAfee play is tike a
lesson in the finest drumming techniques. This album should be^
come a part of any serious drummer's collection.
reputation, responsibility, and business-
manship.
The Checking Account
Concerning the question of check cash¬
ing, personal or otherwise, I have found
more than once that there is a one- or two-
check limit per duration of the gig in the
amount of around twenty-five to fifty dol¬
lars.
Many musicians don't even bother with
checking accounts, but prefer to conduct
their dealings on a strict cash basis. This is
fine and probably works like a charm pro¬
viding you earn enough and have an abun¬
dance of cash on hand, combined with a
major credit card, but ultimately hinders
your ability to establish any kind of future
credit.
If you are one who enjoys the benefits of
checking, be sure to keep meticulous re¬
cords, and follow the traditional, com¬
mon-sense guidelines condusive to the
privelege. Unfortunately, many of our fel¬
low road-hopping brothers and sisters
have skipped town owing a bundle and/or
offering a check that bounces. Those of us
who have learned through pain and experi¬
ence to apply common-sense tactics are the
ones who suffer the consequences. Once
the damage has been done, it is a rare occa¬
sion indeed that an exception will be made.
It is usually only after months, or even
years, of continued working relationships
and return gigs, baring even the slightest
indescrepancy, that your character can be
viewed in trust. Recall the good old days
when you could charge meals and drinks to
your room and pay at the end of the stay,
only to now experience the indignity and
embarrassment of the "no credit policy."
This has resulted from hotels and clubs be¬
ing burned for outstanding debts one-too-
many times and thus totally alleviates the
privelege for everyone.
If you have a problem keeping track of
your spending, and have doubts about
your ability to organize that checkbook,
then by all means use cash. And if you have
a genuine lack of knowledge concerning
your tabs or spending habits, stay off the
long-distance phone call avenue, and
room-charge route, especially if you have
neither the assets or intention of redeeming
the debt. (Redundant as this last line might
sound, it has been historically documented
in the books of hotels and clubs through¬
out the land, in the case of the band who,
realizing that the particular gig is a one-
shot, never-to-return thing, will skip town
with no forwarding address.)
Money strikes a dissonant thud in the
heart of any hard-working middle-class
person, especially in this day and age of
soaring inflation and rising unemploy¬
ment, and to be unduly burned by a debtor
is a sure-fire statement against faith in the
human spirit.
There is no reason in the world why we
cannot hold our heads up high with pride
and receive, without fear of humiliation or
retribution, the virtues and commodities
alloted our fascinating occupation.
It may have appeared throughout this
article that I am down on musicians and
entertainers. Nothing could be further
from the truth! I have made music my life
for a good many years and will defend my
peers to the death. I have, thus, attempted
to voice my concern for our legions and
tried to bestow a few guidelines which may
aid in the extinction of our less than white¬
washed social stature.
So, if you or your band has recently dis¬
covered problems in getting booked back
to a hotel or club, or experienced troubles
in regards to attaining respect from any¬
one, whether it be housekeeping or the
front desk, take a good gander at your
track record and affairs of the past. If you
find yourselves guilty of some or all of the
above mentioned, try to rectify the prob¬
lems as soon as possible, and you can rest
assured that your life on the road will be a
lot sweeter.
And if you find any or all of the above
inapplicable or just downright picky or
prudish, please do me and the thousands
of others who take pride in our business
and reputations a giant favor: Get off the
road. And then out of the music business.
You're giving us all a bad rep and making
it darn hard to conduct affairs. Our profes¬
sion does not need non-professional con¬
duct and personalities on the road. And
these days, we need our careers on full
throttle.
cs
"N
Only $7.95 plus $1 shipping—Dealer inquiries welcome.
Rush check or money order to:
AMERICAN PERCUSSION
1313 21st Ave. S.
Suite 107-161
Department MD
Nashville, TN, 37212
Order now and you will receive a Iree
brochure featuring she story of how
Boo Boo McAlae developed the
endurance that allowed him to play
for 30 days and IB hours, plus a Free
copy of |he Guinness certificaie.
SOLID BRASS IN ALL THE SIZES YOU NEED:
9 & 10, 13 & 14, 14 & 15,13 -14 & 15 —
BRASS or CHROME FINISH, TILTING ADAPTER
and COW BELL ADAPTER OPTIONAL
From PROFESSIONALS for PROFESSIONALS
since 1954
MODEL
2TC-76
shown
(213)589 5211
2302 East 38th St.
Los Angeles, CA 90058
McAfee’s Breeze
95
Anything lo sell or trade? Looking to hiy^ A service lo ofte?'* Adv^M.se i
h BRUM MARKET, read bw drummers nation witter Halt?— 5 fit par
word mi i words maximum. Paymenl musl accompany nrde a Ma ! your
A& iwilh familtancp- Ih MH ::te Pn im Mgricel. 1 "JOCI Clifton Avh , C if ton.
N.m 07a 13
FOR SALE
HERD PERCUSSION —Specialists in
HANDMADE instruments is proud to offer
Ihe new PosterJCatalDg Icalurkny.
Extended Range Resonated Orchestra
Bells; Twangs linger piano with bamboo
and si eel keys; Eskimo & Nubian Hoop-
drums: The African' Dondo-talking Drum:
Ear aksll a-snare drum; Tamale & G am be¬
lli n able frame drums; Wood on Ago go:
Shake ree$: Rackthimes & Tu bakings; and
Skrilth- drone rod?;. Marimbas, Gourd Pi a*
nos, Steel diurns, Custom stands & elec¬
tronics, and Expert idepphone restoration
and Tuning. Simba Talking Drums -Spe¬
cific Info on Request. FOR POSTER/
CATALOG sand $2.00 la BIRD PERCUS¬
SION. 1070 Z Revere Si reel, San Francisco.
GA Q4T 24 U.S,A_ Part of the* Nomad Produc-
Hon Co-op. suppliers of instruments, cus¬
tom wgpden gases, and design services For
the induslry, including: The Grateful Dead;
Rhythm Devils, Jefferson Statshlp, San¬
tana. Auto, Flcra Purlm, Dolphin, Third
Wot Id, Constant Creation, and Toots* the
Maytals.
Ludwig "modular series"' hardware close¬
out (Tam cast i n gs, pi slo l ra rebel $i m s, elc. \
Ho reasonable offer refused. Gook'^
Mu sic, £19 Pros &ec t, Alma. ME 40301
Wear The Drufriset Basebafi Capt
Top OualTty. Photo-rea?ism. Blue or Red.
Only 54-95 plus $ 1.00 postage. Order now
and gp[ tree brochure of band promotional
screen printed products. Tex sig ns, Bo*
7?1.Damrflte. KY *0422
Rogars S pc., Classic champagne spaikie,
chrome timbales, A Zlldjian cymbals,
Paiste. $900.00 (215)6444067
Early Sixties Gretsch 4 piece clean, origi¬
nal. $375.00 1-616-673-4254
GIANT clearance sate; Drums, Blands,
Cymbals, Heads, Ele. Recovering material;
black, while, woods A much more, 5 pc &b|
for under $60.00. Ludwig * Tama pans
man. al $2.25 T-Shirts. Ludwig, Jusl
Drums, Tama, Gretsch, L.P.. Regal Tip.
Remo, for $8.00 or 3 for £21 00 Jerseys:
Ludwig S St ngerlanC For 19.95. Hats:
Ludwig Gretsch, Slingerland 17,95 ea.
£iidjian hal $t0,&5, Tour jacket!!- Ludwig
(blue satin: $69.95. Add St.75 ship PA res
6% tax. Jusl Drums, 59 N. Main Si., Pin-
Sion, PA. 106400526(717)$654300
SATIN PANTS, etc. for entertainers, etc.
Write/eaH for catalog; enclose $ 1.00
refundable with order. SATIN SALES. Dept.
22. 7 South 5th Street, Minneapolis, MN
55402 (612) 333-5045
STAGE LIGHTS TO SPARKLE that group or
single. Remole coni. Compact. Finable,
Four functions. Two mim set up. Complete
ea sy to to I tow pi an & on ly $ 5 .
KB Sales Bok 99
Oyer,. Indiana 46311
DUTY FREE to CANADIAN MUSICIANS'
Drdef direct From the states and we ship to
Canada DUTY FREE. Save On top brands.
For a Free catalog listed in Canadian
money write 10 ' Ezry's Music Shop, 1 T 0
Main St. P.O. Box 37 Van Buren, Maine
047B5 U.S.A,
DRUMMERS! NOW NEW AMAZING
"TWIHLERS" DRUMSTICKS WITH BUILT-
IN revolving DRUMSTICK CONTROL
FINGER RINGS. THE ONLY STICKS l-N
THE WORLD THAT GIVE BETTER CON¬
TROL. ALLOWS YOU TO PERFORM
TWIRLING ACTS AND SAFEGUARDS
hHOM DROPPING STICKS WITH THIS
AMAZING BUILT-IN INVENTION. MEDIUM
3A FOR ROCK OR NITEGLUB DRUM¬
MERS. ONE PAIR ■TWIRLERS" COM¬
PLETE WITH INSTRUCTIONS $13.95 FPD.
TWIRL-A-STICK, P.O. BOX 5120, POLAND.
OHIO 44514
RECOVER YOUR DRUMS in classic black
D! while. A five-piece set costs leas than
£.50, Send 25J for samples, information and
prices. PERCUSSION SERVICES. 2407
Ferguson Road.Cincinnati, Ohio 45238
THE DRUM SHOP, Houston t —LARGEST
drum shop in iha southwest has a
POLICY—"Beal any deal any store quotes
without Selling et a loss. 1r We ship
anywhere—so lei us ship you something.
713 524-1677
U s O.K. I m with me band”. T-sMrts.
Biac k wi ih Wh i te desi g n, S-M-L-X Land nth -
era. $fl-50 add Si.60 postage & Hand! teg.
Sal In Jackets $39.95 Cetera/All SI^bs, BiL H
Music, P.Q. Bax 14 M P Panama City, FL
32401
DRUMMERS! ANYONE CAN TWIRL
DRUMSTICKS WITH THE PATENTED
DRUMSTICK CONTROL RING. AMAZING
FOUR-SN-ONF rOOt. FOUR CONTROL
RINGS COMPLETE WITH INSTRUCTIONS.
$7.96 PPD. TWIRL-A-STICK INC., P.O, BOX.
5126 POLAND, OHIO 44514
EAMES HAND-MADE BIRCH MASTER-
TONE DRUM SHELLS—Three complete
TOM TOM lines—gng ot b ply (UO, 0 ply
(^■'L and 12 ply Vb m ) construction; two
Bass Drum lines including our IS" depth
senes: and ttire*snare drum lines featur¬
ing our 15 ply MASTER MODEL. Each Shall
I? lOO^c, hand c ratted from start to linteh In
thQ Trad I lion of fine Drum Making. All
Shells ars available unfinished, or In Natu¬
ral Wood Gloss or Matt Finish, Write lor our
free brochure today., Eames Drum Cu., 229
Hamilton St., Saugus, Ma 01905 |6l7) 233-
1404.
GLOBE INDUSTRIES’ new cymbal cleaner
is here! We tom's the quickest and easi¬
est wey to rid dirt and grime end give you
then luster new cymbals have. SPECIAL IN¬
TRODUCTORY OFFER sand $7.25 plus
$1.50 poeiage and handling to: Cut Time
Cymbal Shine, P.O. Bo* iGflSW Plantation.
Fia. 33318
Fihee Drum GO- purchased by The
Corder Drum Co. Many parts available. We
can supply you with the Maple Shells,
Drum covering material and hardware for
the do-it-yourselier, wnta for free catalog.
Carder Drum Co. 2607 Triana Blyd. Hunts¬
ville, Ala. 35505
Ah REMO. LUDWIG & EVANS Drumheads
at a huge Savlngslll Al. ZlLDJlAN ^
PAISTE Cymbals al luwesi prices] Huge
Drums*i-r.k ^eving? on th-e following: Ail
Prom^rk. Fibes, Bunkeus, Pearl & Regai
Tip, and wb Roll 'eml!!! Amazing low
prices on all drums & access Dries. Bizarre
Guitar* 2677 Oddie Rlvd., Reno, Nevada
S 0612 (792-331 ■ 1001 ‘i PI us. N o Sa les T ax on
Out ot State Sale at
PERQUSStQN GLUTGH: Attaches to hi-tiat
rod and fjrmfy Itcldsi Tambourines, Mora-
cas. Agogo b^lls, Vibraslap, CowbeJIs, Ice^
bslls, small cymbals, or? 7 PracUcaUy
turns your hi-hat inlo an extra percussion¬
ist! Send $14.95 to Percusso-Clutch. 500
Walnut Ct.. CenIervlllq, In. 47330.
DRUMMERS HEADSET. MonilDf your gui¬
tarist, keyboard, PA, etc. Easily con.
slrucled. Compete plans $5. KB Sates.
Rd* 39 Dyer, ind 46-311
ATTENTION DRUMMERS ,.. large selec¬
tion ol USED DRUMS . . . LUDWIG
GRETSCH, PEARL, ROGERS and Other
brand names ZILDJIAN CYMBALS-
STANDS. PEDALS, TRAPCASES and
beginner drum sets also tor sate SAVF
BIG and buy used! Also buWCrade, CALL
(212} 363 1679. NOTE; Shipping urn?veil-
able
ATTENTION COLLECTORS . RADIO
KING and LEEDY drums . . . BRASS
SNARE PHUM5 . . . vintage hardware
R AR E MID 60's 4 pc. P REM 1 tfl E J A2Z SET.
B EST OF FER S. C A LL (312) 283-1679 NOTE:
Shipping unavailable
Ludwig —Like New. Cuslom Made Dabble
Bass 13 piece Drum Set with White Finish
and Lots of Extras. Make Offer. Dane Peter¬
son, 200 South Summit, Arkansas City.
Kansas 67005
Slingerland Snare; Chrome, 15 x 37 cm.
Over 45 years old. One Head sama age Ex¬
cellent Condition. Make Offer. John
Ogden. 3893 E. Lon 3 Place, Littleton, CO
S0f 22(3031 779-5045.
STUDY MATERIALS
"THE ART Of ROCK OBUMMtNO 11
by CHUCK KERR I GAN-One of She most
chaltengilnQ rock books ever written!"
progressive rack 1 Funk * Jazz-Rock *
Double-bass 1 Ambidexterity * Eic.
Endorsed by LOUIE BELLSONt BILL BRU-
FQ RDJ JIM CHAP! NI ED S H AUG HN E$ BY !
* Exercises from bas/c to advanced* Send
221 Emerald 8 tteet, Johnstown, PA,
15302 (Dealer inquiries welcomed
9S
WAV 1983
IMPROVE YOUR DRUMMING SKILLS,
MEMORY, CONCENTRATION, RELAXA¬
TION AND SELF CONFIDENCE!!! THE
PROFESSIONAL DRUMMER, *S A TAPE
UTILISING HYPNOSIS TO HELP YOU
BECOME THE EXPERT PROFESSIONAL
QRLJMIUFR THAT YOU TRULY WANT TO
BE, ONLY $14,95 PLUS $2.00 POSTAGE
AND HANDLING TO; THE PROFES
StQNAl DRUMMER, 1550 ORCHID CT
LONGVIEW. WA 98632- TODAY'
PUBLICATIONS by C-HET DOEOE-EOohS
that come alive' fa) BASICS OF ROCK
DRUMMING (with cassette) S11.5D fea-
tunes rtiythm section I recks. (b) ROCK
DRUMMING WORKBOOK *3.00 Develop
Feels used by the stars! fc| FUNK DRUM¬
MING WORKBOOK $7Q0 used by top
name artists. N. Tesas Stale, Drummers
Collective FUNK DRUMMING IDEA SF-
RFES [d) BOOK 1 'Qusner Note Funk
Grooves' $3.00: (e) BOOK 2 'Bus? Funk
Grooves' *3.00: (f) BOOK 3' AI tern ale Stic fc-
Ul 0 Funk' $4 7f>; BOOK 4 'Floating Funk
Groove 1 $0.50- (li) SHUFFLE DRUMMING
WORKBOOK $d.QG Jazz, flock. Fusion! (I)
FUNK SAMBAS $5.50. A Must! (j) HAND
FEET $7.50, great for oocrdinatten; stick
control. Include 75t po&lage each book.
Chet Dobra, 427 Uniondale Ave., Union-
dale, NY t1553.
HOME STUDY AUDIO TAPES (60 MIN¬
UTES) Includes study booklelr $11-95 ea.
General Drum seffTschn I que builder. Rock
Drum set, Jazz Drum set. Intro to Mallei in¬
struments, Intro toTympanl, Conga Drum.
BongosrBongo Bell and Tim be I is, Vi dap
CS&seltes also available' $49.95 ea. (2
Hours) N J residents add 6% sates laut-
Jersey School ot Percussion 14 Norlhfleld
Aye. W. Orange, NJ Q7b&2
JIM BLACKLEY'S SYNCOPATED ROLLS
FOR THE MODERN DRUMMER. Complete
revised two volume edition. 140 pages of
exciting PERFORMANCE MATERIAL
When li ccmes to tolls and ihelr musi¬
cal application 1c- Jte?? and Rgck, this i$ .
TH E CLASSIC WORK OF ALL TlMES” . .
Jim Chapin.
send $20.00 US., plus $2.Q0 postage to
Jin- Black lay. 260 Hillsdale Avenue Eafit.
TORONTO, Ontario. M4S 116 Canada
Canadian residents send $25.00 p.p
Money orders only.
ROCK DRUMS OFF THE RECORD. (TONY
CASELLL NORTHWESTERN UNIVERSITY
STAFF) 06 pages and 3-hour tape cas¬
settes transcribed Funk beats-solos. Learn
Cobham, GadcL Garibaldi, Guerin, Mason,
others. Complete $26.45. Book alone $9.50,
JOBBING-DATE HANDBOOK with 2-hour
cassettes "learn to earn" play all slytes
jazr-Latm-discO'Greeto, etc. Complete
$16. DO. Book alone $6.00. ,L Bcss n Bossa
Nova hundreds of Brushes tick patterns be¬
ginner 10 pro $5.00 FUNCTIONAL
ROCK VOLUMES I AND II thousands ot
Ruck Patterns $5.00 each, $9.00 both. Op¬
tional |ape cassettes SI3.00 Volume I
Postpaid. Tony Casein Publications, 79 E
Wildwood Dra-Me. BHrrlnglpi. IL 60010. (31?)
526-5123,
MONSTER POWER PACKAGE—by Denny
Kinne. Contains (5) books which cover the
entire ROCK field. Solos. Speed endurance
studies for hands &. feat. Disco. Jaz*. Latin
plus & study In CammAiclai & Ethnic
rhythms. Totel value $1 4.00— YOt/R PRICE
$10.00 Sand check or M.O. to DENNY
KINNE. Dept. MJJ, 202 Auburn Ave., Staten
Island, NY 10314.
ADVANCED FUNK STUDIES —By RLgk
Laiharr. Hundreds ot patterns to improve
technique and build your I unto vocabulary
Transcriptions ot Gadd. Mason, Garibaldi
Send $7,95 lor book. $11.00 for two 50 min¬
ute cassettes. $15.95 for entire package
Rick Latham, P.0 Bos 12452. Dallas TX
75275.
LEARN - TO READ MUSIC I he logical way,
starting with Thythm first. Loam how to
decipher basic to the most exotic rhythms.
A lifetime reference, GUARANTEED. $7.00
Oxford House. 2400-M14 Gnndley Park,
Dearborn Ml 43124.
A UCK A'QA Y. An advanced players book
contemning 305ear-catching fills revealing
techniques used to ptey I hose licks mosl
qn.y talk a bote. Stressing the incprpqra-
liuu of bass di um an-d hl-haUt also covers
many sticking alternates. Guaranteed Id
Increase your drumming vocabulary. It Is
literally a gold mine of ideas! Send 312.00
(postage paid) lo Kevin McDonald, 500
Walnut Ct., Centerville, In. 47330.
20 Popular Rudiments. Cassette pfcge wllh
booklets Mar? $4.75 to Scott WaIkcr, 30137
Avenida Tranquite, RFY.CA 90274
FUSION CHARTS Accurale dmm ctiarts Io
some of todays leading lusion bands.
Including; Corea r RTF, R=rend X, Bruford,
Pansy. RJtenour, Caldera, Rush. Dregs, and
more. Sand $t,DQ ior listings end ordering
Information lo: Kevin McDonald, 509 Wal-
nte CL, Conlarville, Ift, 47330.
PARADtDDLES IN ROCK BOAT INDEPEN¬
DENCE is a new concept applying the para-
diddle as (he basic rhythmic unit in a step-
bye lap method to develop true
independence in rock and fusion. Send
$6.95 plus $.75 postage: Tom Ronzi, P.O.
Bo* 153. Buffalo, NY 14212 (Canada, add
$2.50).
"CREATIVE DRUMMING” Learn to
develop .ml en ft j ry a n ri pa n d you r s ty !e of
drumming 54.95 or foi more informal ion.
write to David Conti Publications, 159 Main
SI. Anson ia f CT 06401 _
INSTRUCTION
GHEECH I ERG DRUM LESSONS ON
VIDEO. All styles of drumming. Beginning
to advanced. Emphasis on studio session
playing, reading Improvisation, construe 1-
ing sates, and Ihe creative development ot
Ideas- 3 convenlenl locations. New York.
North and Central Jersey. I nal r u c t ion a
available on Video Cassette r Call (201) 759-
4f>4$. Fpi informatiOh write- 14K Liberty
Av-., Belleville, NJ 07109.
JOB BUERGER'S SCHOOL OF DRUM¬
MING in Si L.durfi. A Comprehensive Study
of Concert,. Jazz arid Jasi-flouk Drum-Set
Technique. (314) 429-6249. Recommended
by Roy Burns.
Richmond, VA. area: Ken Bowie. S.M.E. Pri¬
vate lessons snare dum and drum set¬
tee hnique, reading skills, and musician-
ship fgr all teyete and Individual interests.
(BD4) 747-7953 (304) 320-7000
In the S.F. Bay Area JOHN XEPOLEAS
aulhor of STUDIES FOR THE CONTEMPO¬
RARY DRUMMER will accept serious drum
$1udents. Develop all She needed skills for
today's d r u n ii nin g. Ca 11 (415) 381 '5432.
DRUMMERS: Jazz, Fusion, Rock, Solos.
Reading drum charts using short and teng
tone meihdd ol phrasing. Free interview re¬
quired. Henry Beckmann. NYC, (£i£) 34ft-
22S9 ; _ _ _ _
New Jersey School of Percussion: Private
Instruction, Workshops,, Ctessos and En-
sem pies. Home s tudy a u d i d a n d VH$ vi dw
cassettes elao aM’ail^ble, Oblate mforma-
tic n trpm Olenn Waher, 14 North fie Id Ave.,
We^t Orange, N J 07052 (2Q11736-3113.
SCHOOL FOR MUSICAL PERFORMANCE
Specializing in Drumset and Mallet inslru
rnenl Sludies. Private instruction bh all In¬
struments. Voice, sheory And songwriiing.
J azz and Rock Ensemb le vvof kshgp s.—Re¬
hearsal Space Available.—Musical DiteC-
lor, David Kovins r B.A, M.A. ? M.S.M. 910
Kings Highway, firooklyn, NY 11223. tfiSl
33&-49S9._
BOSTON AREA Including Quincy,
Marshfield, Waltham—John Horrigan
SchonJ cl Mndern Drumming—Beginners
I o Prcl eas I dr flL 472-S&72
JIM PAYNE tear heft his new FUNK DRUM
MING book In NYC. Private drum instruc¬
tion including reading, styles and tech¬
nique 212^26-7889.
San Bernardino—Orange Ccualy Area-
Cslif- Learn all styles of drumming. Tram
5 CT'.p!lans of popular Drummer, sludte
technique, reading odd time natures
Call (714) B&4-367S Al Bulfons.
WANTED
VALJE SUPER TUMBA ...
SAMUEL WESTON
3 WEST GOVERNOR DRIVE
NEWPORT NEWS. VIRGINIA 23802
Decticated young drummef ts seeking an
edu3t wiping to ‘‘Invest In ths youth q-
today" by donating a 5 pc. Tama Superstar
Drum Set. Deron- <914)235-8223
JOS OVERSEAS-Big money test $20,000
to $50,000 plus per year. Call 1-2I6-404-
2S0QEXL45B1,
MUSICIANS-GET WITH IT! Why wall for
the right group or right musicians lo Nnd
you? You can find team I Call us “the
music industry's largest nationwide refer¬
ral & gal things rolling now. Professional
Musician's Re feral, Toll Free BOO-328-
8660, 1812) 82^8848. or East Coast Ofc.
309-547-7096, or West Coast Ofc. 714^527-
Mil. *
MAY 1963
97
“My SuperSticks are
perfect every time I
pick them up. I
don’t have to worry
about what happens
to wooden sticks.”
Hal Blaine
11300 Rush St., So. El MnnU\ t’A 91733
Konikoff continuedfrom page 27
drummers, it's a very physical thing. If you
don't have yourself together, you're not
going to do the job as well as you could. I
want to stress the point that it's a very
physically demanding job.
JD: What about the emotional strain of
touring?
EK: Being a road musician and trying to
maintain some kind of normalcy, some
gravity in your life, is hard. I'm in a town
on an average of 12 hours. The day-in-day-
out of the "fast lane" is: flying or driving
in, going to a sound check, back to the ho¬
tel to change, back to the hall, back to the
hotel to sleep, up at five in the morning,
drive eight hours to the next gig, and do the
same. It's grueling emotionally. You have
to learn to deal with being consistent on
stage with all this strain.
JD: How do you do it?
EK: By giving myself a good ground. I
have a great wife and a wonderful home.
Nutritionally, I try to watch what I eat. I
take vitamins. I turned into a vitamin freak
a couple of years ago. The vitamins give
me extra energy and take care of different
organs of my body that don't get all the
necessary nutrients that I'd get from three
meals a day. Sometimes I only get one meal
a day so I'm really jammin' these vitamins
to keep in shape.
JD: What about exercises?
EK: I do a lot of sit-ups, push-ups and
back stretches, what they call "free hand"
exercises, where you don't use any weights
or equipment. You only use what's avail¬
able in your hotel room or at the airport
and just do the basic back stretches and leg
bends. Hotel furniture works well for lim¬
bering up. You really can't take weights
with you, or even grips, so you utilize
whatever you can.
JD: What about practicing while you're on
theroad?
EK: Practicing for me is about nil while
I'm on the road, because I only get to my
drums during sound checks and perform
ances. As far as practicing on a pad in your
room and on the bus or in the airport,
that's good, because it keeps your wrists
limber. But it can't compare to practical
application on the set. I believe that you
have to practice on the set to get your ideas
and to get comfortable.
JD:An interesting controversy is going on
today about beginning drummers wanting
to get paid for everything they do from the
start, in spite of their lack of experience.
What is your opinion on this issue?
EK: Two weeks ago I was asked by a friend
to do some demos for him. Now, to begin
with, scale for a three-hour session is
around $135.00. When my friend called
about the demos, I didn't know what he
was going to offer me as far as money, and
I didn't know what the time involved
would be. It comes down to time and dol¬
lars. It turned out to be about 15 hours of
work and I did it for $50.00. So, I think
that answers that question. I think you
should do everything you can do to get bet¬
ter at something. You should even do it for
nothing just to gain the experience. I didn't
get great money for doing it, but I feel that
I need much more experience in the studio
situation. The only way I can get better is
by doing it regularly, regardless of the pay.
Any time I do something like that, I know I
will learn from it, even if it's the worst stu¬
dio job I've ever done, working with ama¬
teurs or whatever. You learn in any situa¬
tion, so jump at the chance and go do it!
JD: If you were in a teaching or clinic situ¬
ation, what would you say to young drum¬
mers?
EK: It's important to know that part of
playing is working with other people. One
reason that the band is successful is that we
get along well. I try to understand how I
feel and how someone else feels and then
come to some kind of an agreement about
how to work together. There's a lot to deal
with on the road that you may not want to
deal with. You have to find a way to accept
what you can't change. We fight but we all
love each other. I mean, I spend more time
with the band than I do with my wife and
family. That's painful. You have to take
opportunities on the road to be with peo¬
ple, even if you're only in town a short
time. I meet people, other drummers, and I
try to give myself to them. I listen and I'm
genuinely sincere about my response to
them. It's not, 'Hey man, how ya' doin'?"
and walk away and forget the person. I
take an interest. I try to be helpful. I want
to transmit the inspiration I've felt from
other drummers to still other drummers,
younger players.
JD:Who did you find inspirational?
EK: Those who play the simplest, like
Bernard Purdie. He's amazing! I love him.
I spent the summer on tour with the band
in Europe and Japan. He was with Dizzy
Gillespie. Along with us were Tony Wil¬
liams, Freddie Hubbard, Joe Sample and
Ron Carter. I spent most of the time with
Bernard. Tony stays more to himself.
Bernard talks to anybody and that's all it
took for me. We traded lots of informa¬
tion. He was an idol, you know. When you
meet someone like that, it's strange to ac¬
tually get to know them.
JD: Right. You learn to play by studying
their licks, and suddenly you meet the
flesh-and-blood man behind the lick.
EK: It's important to take ideas from peo¬
ple, and the fact that you're taking the idea
continues the tradition of passing it along.
All the ideas have come from others and
have been played before. When you play
them, you put your personality on them,
like a fingerprint. It's bound to sound dif¬
ferent. So, it's good to have idols but don't
let their accomplishments intimidate you
or get in the way of your growth. Don't put
yourself down for borrowing, listening
and learning. Don't say, "I'll never be able
to do that." You can! You are your own
obstacle and I've learned that the hard
way. Drummers who've influenced me are
MAY 1983
98
Steve Gadd, Vinnie Colaiuta, Alex Acuna,
Harvey Mason, Bernard Purdie, Neil
Peart, and I could go on and on. They all
have their own style. It took a long time to
realize that what I have to say is as impor¬
tant as what they have to say. Important to
me! Sound like yourself, because you will
anyway.
JD: You mentioned once that you had
some dealings with Gene Krupa. Can you
tell us something about that?
EK: Whenever the big bands would come
into town, my father would take me to see
them perform. That had an unbelievable
influence on me. When I was a little kid,
not only would I see my father on stage
performing with his own band, but he
would show me other bands and it was an
invaluable education in the big band era.
You can't get that today. The kids growing
up today will never be able to get that and I
really feel that's the reason for a lack of
versatility in drummers. They grew up in
the '60s and 70s and never really got any
of the influence of the '40s and '50s.
JD: So you met Gene Krupa through your
father?
EK: About twice a year, Gene Krupa used
to bring his band into the club where my
father worked. On Sunday afternoons,
Krupa would have an open jam session for
all the local drummers and all the parents
would bring their kids. From 4:00 'till
about 8:00 at night they'd let the kids sit in
while their parents were there. They chose
an old standard like "Sunny Side of the
Street," a nice, medium-tempo jazz tune.
The kids got the experience of playing with
Gene's band, on his drums, in front of
their parents and a club full of people.
Gene gave back to the kids by talking to
them and relating what it was like to be a
professional drummer. It was an invalu¬
able experience and I hope to be able to do
the same some day.
JD: That leads me to ask you about your
doing clinics.
EK: Unfortunately, I'm on such a busy
schedule right now, that trying to schedule
clinics is pretty hard. But as soon as I can
get the time, that's one of the first things I
want to do.
JD: Do you have any ideas as to what you
would do?
EK: I m sure I would perform at the clin¬
ics, play drums, show a couple of different
beats. But I'm sure that most of it will be
questions and answers relating to what it's
actually like being on the road, how my life
is influenced, how do I practice, and those
are the things that I like to get across. They
want to know how I handle it, do I take
drugs, what do I eat, all sorts of stuff, so I
really like to relate what it's like to be on
the road 8 1/2 months every year.
JD: Taking what you just said about
drugs, what is your opinion about that?
EK: No matter what you take, it's going to
affect your playing. I personally don't take
drugs when I play because it affects my
playing. A lot of people smoke pot and use
cocaine and amphetamines while they
play, but it doesn't matter what you use: It
still affects your playing and you're not be¬
ing truthful to yourself, it's as simple as
that. The cold truth is that anything you
ingest into your body alters your playing.
My playing requires so much of a physical
effort that I couldn't have anything in my
body affecting it.
JD: Your style seems to me to be very big
band oriented. Is that only because of the
type of music you grew up on, or did you
do a lot of big band playing before Spyro
Gyra?
EK: It was my influence as I grew up. Dix¬
ieland music is sort of big band-ish with
arrangements, you know. When I was
growing up, through high school and when
I went into the service, I played in all the
big bands. We played all the standard
charts, and yes, I was influenced by it. But
I still consider my style to be more r & b,
funk, rock and soul, as well as having the
big band influence.
JD: When you were in the service, was mu¬
sic the main thing that you did?
EK: I went to the Navy School of Music. I
went to school and played music all day.
Of course, I had military courses, but mu¬
sic was the main thing. I was a musician by
rating in the service.
JD: Big band music is what you listened to
while you were growing up. What do you
listen to now?
EK: A lot of black influence. Earth, Wind
and Fire. I still listen to James Brown. I
enjoy really good music; music with beau¬
tiful changes in it and aggressive playing. I
listen to the Brecker Brothers. They amaze
me. They're unbelievable. I listen to
George Benson and Harvey Mason.
I still listen to Buddy Rich and I've got
some Cozy Cole records. I'm talking years
and years ago, you know, but I think that
in today's contemporary music, what I like
to listen to is a really solid, fat sound.
JD: Tell us something about the tech¬
niques you use with your feet. For in¬
stance, do you use a heel-toe motion on the
hi-hat?
EK: I like to have it arched up on my toe. I
like to play with my foot up in the air with
the toe wedged into the front of the foot
pedal on the hi-hat. That way, I get better
response for what I do. For the bass drum,
my foot is flat on the board, but I lay a lot
of pressure up towards the tip of my toe
and toward the front of the plate. My right
foot is flat. My left foot is on its toes on the
tip of the plate.
JD: Any unfulfilled goals?
EK: I want to do my own album. I want to
do some writing/recording work. I want to
do some clinics. After I do those, I'm sure
ten more will come up. You know, it never
stops. I would really like to have more time
to put back a lot of things that I'm giving
up now by touring. I'm giving up my home
life and stuff like that. I would love to be
able to stay home a lot more than I do now.
“I like the balance
and control of
Dnraline Super sticks—
and they’ll stand up
to vicious rim shots
without chewing away,”
01 lie Brown
I ‘mducer/few unionist
ii;a«i Kiih.li st„ So. El i ’A ami
MAY 1983
99
by Randy Martin
Fusion Drumming
Through Rhythmic Transposition
Fusion drumming today is filled with a great deal of rhythmic com¬
plexity. Unfortunately, the study of these complex patterns, as
written in standard drumset notation, can often discourage even
the most hard-working student.
And yet, if you're really willing to make a slow, careful study of
these patterns, and do a little rhythmic transposition, you'll proba¬
bly be surprised to find they're often not as complicated as you may
have originally thought.
What is rhythmic transposition? Simply a fancy-sounding
phrase which means to convert the standard drumset notation to
its rawest form: basic rhythm, sticking and bass line.
Take this example from Steve Gadd's playing on "Nite Sprite"
from Chick Corea's Leprechaun album. The example, as written,
looks like this:
Gym
S.D
B.D
-£_/ f y ? ’■
i
To rhythmically transpose the pattern, first write out the under¬
lying rhythmic pattern. Play it until you've thoroughly absorbed
the sound.
fm rm .g
Cym £
Written su if
B.D M'
_ 7 * 11
to
\ Played
OT rm,
*., i,ti Jutt J | * * 4
=vm J J I aJ—W’ ill jT t i ai i * ■* 1 41
Written SD ^ » * id d i i i d
93 * : f i _f rf* a
Bt
i J”t & 0 J J- ^ i]
\ Played }} -t -t n- i -t l n- -t -t n t_« r— b M
* * r - ~ * f — = a
Now proceed to change all cymbal notes to R's (right hand), all
snare drum notes to L's (left hand), and simultaneously-played
notes to F's (flams). Practice the pattern with the prescribed stick¬
ing, preferably on one sound source at first (pad, snare drum, etc).
RLLRLRRLRLL RFS FL
Musical Ex. 3
Next, pencil in the original bass drum line in its correct position
under the sticking.
n -b -b R L R t * b b -R- -R- w -t 31
#4
w.
:
You'll probably notice at this point that the tightened and more
natural appearance of the pattern makes it not only easier to un¬
derstand, but much easier to play, as well. After you've mastered
the pattern and can play it at various tempos, you can begin to
build it back up again by moving the right hand to cymbal (or hi-
hat), the left hand to snare drum, and the right foot to bass drum.
All of the following examples were taken from Steve Gadd's
work on "Nite Sprite." The rhythmic transposition is written di¬
rectly beneath each original transcription. Try all of them.
Wrmm “ ii
; n m * if! m a
1 _/ t '■ _ ’ i ’ a
{ > L
Played if
j W j w f A Wt ,j|
Written 4
B.P JP ■
*n m*n
::_/
i
m
Played JL
rm m sm ,
£ yx. ft-t =j|
100
continued on next page
MAY 1983
CHAD WACKERMAN
R.I.M.S.™ & the DW DOUBLE PEDAL
A leader of the new generation of drummers—
versatile, musical, original. Chad's work with
Sill Watrous, Leslie Uggams. frank Zappa and Allan
Holdsworth spans the musical spectrum. Studio or
live, jazz or rock, Chad depends on his drum equip*
men! to provide him with the responsiveness and
sound his creativity demands. Chad's set wouldn't be
complete without his Gauger R.I.M.S.™ and Drum
Workshop 5002 Double Bass Drum Pedal.
R.LM.S.™ (Resonance Isolation Mounting System) Isa revo¬
lutionary way of mounting drums that allows them to
resonate In a fuller, more natural way. The improvement In
sound is dramatic and has been acclaimed by pro's like;
Tom Brechtlein Larrie Londin
Peter Erskine Harvey Mason
Tris Imboden Chet McCracken
Jim Kellner Jetf Porcaro
Kellh Knudsen Chad Wackerman
Russell Kunkel Fred White
Available for mounted toms, floor loms
BfrW and roto toms. At selected dealers
|||^ only, or write: Gauger
15108 Highland Ln. r
■ Minnetonka. IVIN 55343
The new Drum Workshop Double
Bass Drum Pedal's ease of oper¬
ation and great chain drive feel
gives drummers a new world of
performance possibilities to ex¬
plore. It also provides an exciting
alternative for double bass drum
players. Jim Keltner, Vtnnle Colaluta,
Russell Kunkel and John Hernandez
are just a few of the outstanding
drummers who. flke Chad, have
chosen to make the DW 5002 a
standard part of their drurosets.
Drum Workshop, 269? Lavery M
CL Unit 16, Newbury Park. CA ■
91320 (80S) 499-6863 M
■ ■ _>j
1
1 **
H *
■
E)
[ Cvm. k
■ nr -*. 4 c rj TT W W
j=
3>r3-
=3t=
‘ "" " _“■
m
1 Written: » u U "
e.D — £
=¥*=
-rr
- = ¥ 5==
^ *
7
■ i
[£|
Played;
J J J~j 3 i J "3 J v
— — —R- 4 -R -R- 4 R 4 4 -R-R-^F—4—R-b—R-b—«—R 4 - -R- ■ 4 - -b—4?—R- * g
t=? =p ~r * p r
F).
Cym.
S-D
B,D
Played:
IE
2
~n - 1 - —w - m
■jlP j
d
. y J 1 X X
^ --- d - i: -i
^f == A -
~r—t
t- ?
p f j 11
f= T= T
i /W
r^r
i
G) 1
c v m -_sJ_. ^ ^
s.d n- - m. • m d *• _ m
Written; so +E^
ELD. —
Played:
^ v k 1 FSP
f
~ .“TF^ Ji 3 -r^
-ff -5 ~-ft-1~ Ff -R—b-A— 4—4 *R~ -R— -F-
i_* ■* * ?'
fl-b-R-b-
-d—t.
T^T
3
*-»=?
cJur-rf—ii
L -fl -r— b —yl
Next time you're stumped by a complex written example and ready to give up, try applying this method. You'll be amazed at how your
skills will improve. [-*j
Arizona's Exclusive Drum and Percussion Shop
cjj&wtVe
c *u M
■ Al! major brand names— Gretsch, Slingerland, Premier,
Fibes, Zsldjian, Sonor, Syndrum/DuraUne Heads,
Tama, Ludwig, Yamaha
* Sates, Service, Custom Repair Work, Wood
Refinishing, Recovering
• Trade-ins and consignments
• Mail/Phone Orders
* Full Drum and Percussion Teaching Staff
• Complete Percussion Library
* T-Shirts S-M-L-XL $8.00
7117 3rd Avenue
Hours:
Mon-Thurs 10-9
#i Scottsdale, AZ 85251 c ■ o + i a e
Lay away ttfnxQAt Fn-Sat 10-6
*Visa M/C (602)941-2235 Sun12 . 5
'A Percussion Shop That Really STICKS WITH IT"
Rotolbms ©YAMAHA JftyfXHs 0
Ht-Ml tH Hj.
jfftFffffjL r/V
DRUM STICKS
6m7sF// I
JS J
DUPLEX
CB700 ■
lVAW$ I
0SYNARE V
MAGAH |
)\anl I
CMsCPerC 1 I
ITSONOR "
GonBopsotCalifornio GOOD VIBES MALLETS
456 N ORANGE AVE. QffiJNDO, FLA. 33SD1
(3flS) MJ-HE5 * PAUL JAM. M&.
LARGEST AND MOST COMPLETE |
DRUM AND PERCUSSION SHOP
IN THE SOUTH
* WE CARRY ALL MAJOR BRANDS
* CALL AND COMPARE OUR PRICES
* IMMEDIATE DELIVERY
* CASES AND SMALL PARTS
* COMPLETE PERCUSSION LIBRARY
RENTALS
VISA * MASTER CHARGE ACCEPTED
*^£uu?&rfa/td
i&TAAM
\ J B DECATUR
B r»’kj J’i is ii
T*Jsnc©'
\ R«mo
m cnm&R
I .11
W Premier
f DURALINE
4 KRUT
I PAi^O
I 3r*t iTi9rA
I mm m
I OFCAUFORriir
■ SAUL COOLtMaiM
’Pen&tl
PtaqofaJ
Gon Sops of CaJrfomia GOOD VIBES MALLS TS ?****»> fa0**t* g*.
ROSS MUSICAL WSTBUMENTS ISLAND MUSICAL SUPPLIES dERIChfl IMPORTS
102
MAY 1983
Bill Bruford doesn't play the new Simmons electronic kit
because it’s the most amazing looking set ever made. Or
because it comes in a range of 7 dazzling colours. Or because it
can fit comfortably in the trunk of even the smallest auto.
Bill’s not bothered about things like that.
But, as a truly creative musician, what he is bothered about is
finding the kit that can help him extend the frontiers of his craft.
Bill uses Simmons live and in the studio because (unlike most
electronic drums) our kits are for playing.
Not for playing with.
1 ' I believe that, just as the electric guitar
revolutionized guitar-playing, the
introduction of Simmons drums is just the beginning of
a new era that will make the drummer's art more challenging,
more exciting than ever before"
But you don't have to take Bill's word for it. Send $2 to us at
Simmons Group Centre Inc., PO Box 1444, Reseda, CA91335 and
we’ll send you a special recording of Simmons drums in action.
Then, like Bill Bruford, you’ll be convinced that the sound of
Simmons really is the sound of things to come.
And if you’d like to see Bill play Simmons
on video, write, enclosing$53.95, for
' Bruford and the Beat’ to Axis Video I nc.,
PO Box 21322, Baltimore, Maryland 21208.
ISIMMONS
THE-DRUMS-OF-THE-FUTURE
SIMMONS CROUP CENTRE INCORPORATED, PO BOX 1444, RESEDA, CALIFORNIA 91335. TELEPHONE; 213 8842653.
by Robyn Flans
TOP
m
Karen
Carpenter
1950
1983
On February 3rd, Karen Carpenter died of
a massive cardiac arrest. Reports have
linked her weak heart to a disease from
which she suffered, but recently had over¬
come: anorexia nervosa; the compulsion
to be thin.
Like many, I only knew Karen through
her music and her smooth, stirring vocals
on such songs as "Close To You," "For
All We Know," "Rainy Days and Mon¬
days," and "Goodbye to Love." I can't
recall the number of brides and grooms I
saw walk down the aisle to "We've Only
Just Begun," and I can recall how the
depth of her emotion on "Superstar"
touched my adolescent heart.
I want to express my gratitude to those I
contacted who knew Karen and worked
with her and were willing to answer ques¬
tions and share memories in a time of per¬
sonal loss. Bassist Joe Osborn recorded
Richard and Karen Carpenter in his garage
studio while they were still in high school.
"Karen always had a terrific style," he
recalls. Osborn wanted to help them and
constantly told Hal Blaine about these two
special kids—Richard on organ and Karen
on drums and vocals.
"I met Karen during the Jimmy Webb
session of 'MacArthur Park,' I believe,"
Hal remembers. "Joe invited them over to
the studio because he had always told me
about them and said we should do some¬
thing with them. He wanted me to produce
them. We talked and they were very nice,
but I said to Joe, 'How in the heck are we
going to go into the studio and produce
them when we're doing four, five and six
sessions a day?"
But both Osborn and Blaine ended up
on Carpenter's records when A&M signed
them, with producer Jack Daugherty at the
helm. Their first album, Offering (later
reissued with the name of their semi-hit of
the Beatles' song "Ticket to Ride"), made
some noise and paved the way for their sec¬
ond album, Close to You. Enter Hal
Blaine.
"When they decided to go with profes¬
sional musicians, they had talked to Karen
about my playing drums, and as far as she
was concerned, it was fine because they
wanted a hit. Her mother was upset at first
and said, 'I've watched drummers on T.V.
for years and Karen is as good as any of
them.' She didn't understand that there
were different techniques involved, but
eventually she understood.
"I've always said Karen was a good
drummer to begin with. Often times, guys
think that a girl drummer isn't right, no
matter what. But I knew she could play
right away when she'd sit down at my
drums on sessions. She played a lot of the
album cuts as well, and we had Howie
Oliver make her up a set of my monster
drums. But about the third or fourth hit, I
remember I said to her, 'When are you
going to get off the drums? You sing too
good and you should be fronting the
band.
Enter Cubby O'Brien. Cubby was asked
to join the road band in 1973 and also
recorded some of the album tracks,
remaining with them until they stopped
touring around 1979.
"Karen was very knowledgable about
the drums and was a very good drummer,
there's no doubt about that. Some of the
things we did together were not easy.
Richard wanted it exactly the way it was on
record. When I first joined the group,
Karen was still playing in the show. We
worked out all the drum breaks from the
records and I played exactly what she did.
The idea of getting me was to actually get
her off the drums, and in order to do that,
they needed a strong drummer. Richard
had grown up with her playing and
thought a lot of it, so it was hard for some¬
body else to take over that chair.
"But at one time, playing was a very big
issue in her life. I remember one time
Karen and I went to see Buddy Rich and
Louie Bellson's band. I know Buddy fairly
well, so before the show, I took Karen to
meet him backstage. He was getting ready
when I introduced her, 'Buddy, this is
Karen Carpenter.' And he said, 'Karen
Carpenter! You're one of my favorite
drummers, you know that?" When we got
back to our seats, Karen turned to me and
said, 'Was he putting me on?'
"Karen was a very special person. She
was always a very happy, very up, person,
even when things were bad. Her death
shocked me and really saddened me. I
spoke to her just four or five days before
she died and she was feeling good and
much stronger than she had felt. She
wasn't getting as tired as she had in the
past, and all the way around, things were
straightening out. She and Richard were
making plans to perform and thinking of
going over to Japan and playing out of the
country first." (According to Joe
Osborn, there are still about forty tracks
recorded last year that are yet to be
released.)
In 1969, a woman drummer was
unheard of. Today, in 1983, it is still unu¬
sual. It does, in fact, take a lot of courage
for a woman to pursue that instrument
when the stereotypes are so difficult to
penetrate. "Karen hated somebody to say,
'You're really good—for a woman,"'
Cubby said. "Nobody better have said
that!" *
The xionenn
igggU
Soph ^
Me! leu-fs
ErSf
if Shaughnes
Alan D^w; #0ll
^plm Bailey
Horn
• . 4 mg HFpun
«»cli Miles
a v 0«s5ifc ^
IpyAtiKlQ |
ta nJe(> Sjfiecfor
,d ma ?V. m any mor*
We vc selected mare than 75 of the most
informative and helpful articles from our
ten most popular columns, written by
some of our most popular authors!
Here's the very best of MD in a jam-packed, 124
page volume that's overflowing with invaluable
drumming information. Information you'll want
lo refer to again and again. Information you
won’t find anywhere else.
This book represents the must reading segment of
MD’s six years. It’s one book that should be in
every serious drummer's library.
DESCRIPTION
QUANTITY
COST
TOTAL
THE FIRST YEAR
$7.50
THE MD TREASURY
$9.95
GRAND
TOTAL
ENCLOSE CHECK
OR
MONEY ORDER
FOR
TOTAL AMOUNT
(NO CASH)
ALLOW 4*6 WEEKS
FOR DELIVERY
ITEMS MAY BE
SHIPPED SEPARATELY
NAMEIPUIASF Pttirvn
ADDRESS
CITY
STATE
M AIL TO: MODERN DRUMMER
BOOK DIVISION
1000 CLIFTON AVE, CLIFTON, NJ 07013 USA
DRtifliniPR Library
IF YOU MISSED OUT ON ANY ISSUES OF
MODERN DRUMMER’S FIRST YEAR, NO
YOU CAN HAVE THE ENTIRE VOLUME
ONE IN A HANDY, SPECIAL BOUND
REPRINI! FEATURl NG :
BUDDY RICH ED SH A UGH NESS\
CA RM IN E A PRICE LOUIE BELLSO N
LYCOBHAM ALAN DAWSt
sfNY WHITE ED SOPH
Y HAYNES .IOE MORELL 1
CUSTOM DESIGNING Y OUR SET
A STUDY' IN ROCK STY'LES
BRAZILIAN DRUMMING
UNDI1RST A N DI NG R11YJH M
X ROACH SOLO TRANSCRIPTIONS ,
AND MUCH. MUCH MORE!
THE EDITORS OF MD
PROUDLY INTRODUCE
THE BEST OF
MODERN DRUMMER:
ZIP
ALL CHECKS PAYABLE IN U.S. FUNDS
wr
Try
iln
Lfl
T) T?"
1
m
MD readers can write to Hal Blaine in
care of: Staying In Tune, Modern Drum¬
mer Magazine, 1000 Clifton Ave., Clif¬
ton, NJ 07013
by Hal Blaine
Q. Iam 17 years old and have been playing
two years. I’mplaying in a rock band but
like all kinds of music. Sometimes when
Tmpracticing, I get discouraged because I
can I get a roll down right or I get discour¬
aged by the attitudes of my band members.
They don’t get serious. I believe inputting
out 100%. I really believe that, someday, I
can be a good drummer if I could just get
some encouragement and tips about time,
practice and anything else helpful to the
development of a good drummer. Thank
you very much.
S.G.
LaFollette, TN
A. Gosh, how can you give a guy forty
years of tips in one letter? The fact that
you're giving 100% is important. Give
everything you do 100%. As far as those
other clowns go, they'll probably wind up
out of the business and they're probably
not going to be a very happy lot in the long
run. Just the fact that you wrote me shows
you're into what you are doing. Obviously
you're growing and developing. Imagine
what it will be like after playing five years?
Better bands and other musicians. Don't
let these guys get you down.
As far as yourself, you've got to keep
yourself together, straight, away from
drugs—the obvious.
One thing to learn is what not to play.
Like most drummers, we're all showoffs. I
mean that in the good sense. When we play
we want to get in there and play every lick
we ever heard, but you can't do that. The
band needs you to hold that beat for them.
So, don't overplay.
Do what you're doing 100%, but don't
let your life become one drum after an¬
other, one piece of music after another. If
you think and play nothing but drums, 24
hours a day, you're going to be a very mis¬
erable person some day with nothing to
seek or think about. You've got to find that
balance.
A certain amount of music; a certain
amount of diversion. It's just like your
body: a certain amount of being awake; a
certain amount of sleep and rest time. By
the same token, don't let your hobby take
up all your time. Find that happy balance
and you'll be a happy guy. It sounds like
you're really on your way, like so many
guys that are really taking care of themsel¬
ves nowadays.
Q. I’m 16 years old and preparing for a
professional drumming career. I was se¬
lected for the McDonalds All-American
High School Marching Band which was a
106
high honor. But, recently I lost my first
audition and I’m really upset about it. It
was for the McDonalds Jazz Band, and
sometimes I think I’ll never make it.
LB.
Severn, MD
A. When you've lost an audition, try to
think about the drummer who got it. I
know it's hard because you're hurt and up¬
set but, it's just possible that he's worked a
little harder than you. It's possible that in
the jazz realm, you weren't quite up to the
standard that you were in the marching
band. It sounds like you were doing terrific
there. I wouldn't be surprised if you just
need a little more work in the jazz thing.
Don't let it get you down. Frankly, we all
have our weak points to work on. At 16, I
think you're resilient enough to come back
from this temporary upset and get to work
on what you have to do to improve your
playing. Practice hard and work on the
jazz thing, if that's what's throwing you a
curve. It's also possible you missed that
audition by only a judge's point or two—it
doesn't mean you're the worst drummer in
the world. Practice and listen and it'll all
come together for you.
Q. I have a good friend who is a top session
drummer in Los Angeles. He invited me to
the studio when he was recording recently
and, watching him, I discovered several
things about myself. I tend to sound
"muddy," not clean. Also, I tend to rush.
My left hand is very lazy. I would deeply
appreciate any suggestions and/or exer¬
cises you could relay to me as If eel deeply
frustrated.
C.C.
Palm Desert, CA
A. Start putting that right hand of yours in
your pocket. Start thinking of your left
hand as your right, using it to open doors
and dial phones. When you sit, uncon-
ciously tapping with your right fingers, put
that hand away and switch to the left. Most
people are right handed. Drummers' left
hands do get lazy, as do their left feet. Start
using your left hand, and the right side of
your brain starts to get used. That's where
your time comes in. Your brain's a com¬
puter and it draws practically from the day
you were born. So, if you want to get a
good tempo, get yourself a metronome
and start playing with it. Sing to yourself
and play the drums with it. Play with the
click and you'll find yourself getting way
ahead and way behind. When you start
getting with it, your brain takes over.
Eventually, with enough practice, you'll
know when you start rushing and drag¬
ging.
Naturally, work with the stick in your
left hand. The big thing, for now, is to for¬
get your right hand for a while. It'll come
along.
As far as drum sounds, you know that
studio drummers dampen this and that.
You get a room sound, but you're not al¬
ways in an acoustically good room. One of
the best places to practice is outdoors, be¬
cause the sound is totally absorbed and
gone. A small room gives you a tremen¬
dous echo situation. The drums will sound
bigger and you'll sound like you're playing
much more. Playing outside is the real test.
Then, you'll find out what you're really
playing.
Q. A goodfriend of mine saw you in con¬
cert with John Denver several years ago.
He tried to describe a sound effect that you
produced while a Frisbee sailed through
the air. Do you happen to recall what you
were using at the time to accompany "Fris¬
bee flight"?
B.H.
Granite Quarry, NC
A. I have no idea what your friend saw.
The only thing I can think of that would
have been close to it would have been my
wind chimes or, as they are professionally
called, a Mark Tree named after the in¬
ventor, Mark Stevens. They are brass
tubes that vary in pitch consecutively,
from very high to very low. It's a beautiful
sound. Maybe this is what he saw me us¬
ing.
Q. I have high hopes of becoming a studio
drummer someday, but my problem is that
lean’t read a note of music. Is the ability to
read charts an absolute necessity, or is
there hope for me yet?
K.L.
Kansas City, MO
A. If you have high hopes, you definitely
will have to read and that's all that there is
to it! Go out and get yourself a teacher and
start learning, like everyone else. Think
about this: when you walk into a session,
there might be 25 musicians there and, if
they have to wait for you to memorize your
part while they are reading music, this will
cost thousands of dollars. No one in the
world is going to wait for you. Reading
music is no different then learning the
ABC's. When you first read a book it was
c-a-t and d-o-g. Before you know it you'll
be putting notes together in groups, just
like words, and you won't be concentrat¬
ing on reading. The meaning and sound of
the groups will be just as clear as words are
to you now, automatically.
MAY 1963
Q. I’ve been playing for seven years and
every time I get into a band that’s good,
people’s heads start to get bigger and big¬
ger. This gets very hard to handle, as I feel
that I’m not a bad drummer, I’m not hard
to get along with and have never had trou¬
ble communicating with anyone. But also,
I got into a car accident that messed up my
back where I had already slipped a disc.
Now it’s very hard to play and I’m hoping I
don’t have to give up drumming. Any ad¬
vice?
P.C.
South Village, IL
A. I'm sorry to hear about your accident. I
have heard of a system called Gravity
Guidance Center in Pasadena, California.
It's run by a Dr. Martin. Many chiroprac¬
tors are using this system. I'm sure you
could get the address from your doctor, or
by writing directly for literature. Perhaps
there is a local distributor in your area. Be
sure to check with your doctor first.
As far as working with these people is
concerned, often, there are people that you
just can't work with. Once they start think¬
ing that the whole audience is looking only
at them, it's usually the start of a breakup.
Sounds to me that your head is in the right
direction and that you're probably a better
drummer than you're telling.
Q. I am 16 years old and have been playing
for three years. Istartedplaying club dates
when I was 14 and many people tell me I’m
going someplace. The only thing on my
mind is drums and the fact that my band
members are in their mid-20’s tells me that
I have time. But, many older musicians tell
me to get in a better band because this one
is holding me back. Iplayed violinfor nine
years and got a lot of theory and back¬
ground, but quit because I thought that
drums could be a fantastic career. My
band and I just came back from a record¬
ing studio which only confused me more.
Should I quit my band or not?
F.C.
Binghamton, NY
A. Your violin background can only be a
great help to you, of course. But, the fact
that you've only been playing drums three
years means that you're at the very begin¬
ning. Slow down; take your time. You do
have time. Don't get on the backs of the
older guys who obviously have more expe¬
rience. You might have more musical
background, but the on-the-job experience
makes all the difference. Every time you
play, you are learning and adding to your
experience and, like it or not, you're learn¬
ing from the guys you're playing with.
Eventually, when the right band comes
along and wants you, then you'll be ready
to go with that band. But right now, if I
were you, I'd stick with this band, keep
practicing, learning and studying. That's
most important. As far as the studio con¬
fusion, I would say to get as much time as
you can around the studio. Hang around
New York studios. There are guys who'll
take you in and let you watch if they know
that you're a musician and trying to learn.
And you will learn. One thing you don’t
want to do is get on your high horse and
say, "These guys aren't good enough for
me," or "I'm to good for these guys."
You're 16 and it's not likely to happen to
you for at least 10 years. I'm not saying I
wish it wouldn't, because I'd love for all of
us to make it as soon as possible. What will
happen is that through the years, as you get
more experience and ability, you'll be
ready to take advantage of the opportuni¬
ties that will present themselves to you.
Q. I’m 20 years old. I studied drums for
two years and now, after two years off, I’ve
been studying with a college student who’s
in the jazz band. I get desperate because I
can ’t do things which I hear other drum¬
mers do. Ipractice everyday but I don ’tsee
much improvement. I have trouble doing
doubles, sambas and fusion rhythms. Can
you help?
O.B.
Miami, FL
A. I don't think you have a problem at all.
You have a whole lot of years ahead of you
to get better and better. You may not see
much improvement, but you do see some
improvement and that's the key. If you see
a little improvement, every day, for 365
days, you will be a 365% better drummer.
It's a matter of sitting down and working
out what you have been hearing on records
and what you want to learn. Read MD, get
the books on independence to work on
your hi-hat and bass drum coordination.
That's what I did. You will see an improve¬
ment if you keep at it with a positive atti¬
tude. Let me know how you do.
Q. I began playing at 15 in a marching
band. The drummers were left to teach
themselves so, in three years I couldn’t
read a quaver. From 18 to 24, I was unable
to play for reason beyond my control.
Eighteen months ago I set my self a goal to
become a pro drummer. I’mtaking lessons
and I play weekly with a bass player and
rhythm guitarist. I hope to study in Amer¬
ica someday. I feel I’m talented, but some
people tell me that to be a pro, you must
start playing in childhood. What do you
think? I’ll be 25 this year but feel like a
teenager.
D.J.
Traralgon, Australia
A. Good. The older you get, you want to
be young at heart. I'm sure that will show
in your playing. After laying off for so
long, it sounds like you're dedicated now.
If it's the thing that makes you happy, the
drums will keep you healthy. As far as
studying, I think you're absolutely right to
be studying now and doing as much play¬
ing as possible with other musicians. It's
the only way to better yourself. There's an
expression in the States: "I don't read
enough to hurt my playing." That's non¬
sense from people who are afraid to work
hard. Reading will help you like it's helped
me and anyone else I've ever known that's
gone on to be a professional player. Any¬
one can learn to fake a little but somewhere
along the line the guillotine's going to
come down. Keep at it and don't be dis¬
couraged. If you get to America, perhaps
you could drop me a line and we'll get to¬
gether and talk.
Q. I have been playing trap set for two
years at an intermediate level. I am very
interested in learning how to use double-
bass drums and the hi-hat as well as
improving my four-way coordination. I
would appreciate your advising me on the
best way to pursue my interests.
W.T.
Honolulu, Hawaii
A. There are many great books on the
market that teach double bass and inde¬
pendent coordination. I would talk to
other drummers who are using these tech¬
niques and possibly study with them.
There are several very fine drummers in
Hawaii. One of them is Harold Chang and
another is Danny Barcelona. Perhaps
they'd be willing to work with you. I'm
sure the union can put you in touch with
them. Try The Drum Shack too. My old
buddy that's running it might be able to
give you the names of some of the other
really good teachers over there. Tell him I
107
MAY 1983
Q. I recently purchased an 18" Ludwig floor tom and I have a big
problem. The drum is acrylic and there is a 1" long crack starting at
the top hole drilled for the lug bracket. Every time I play, the crack
grows 1/8”. Soon it will meet the other hole and the bracket will pull
out. How can I fix this?
L.G.
San Deandro, CA
A. Bill Gerlach at Ludwig said that you may take your drum to a
dealer who will then send it to Ludwig for a determination as to
whether or not the drum will be repaired or replaced, as well as
whether or not there will be a charge. He emphasized that the com¬
pany can take no responsibility for a shell that has been worked on
or repaired anywhere other than at their factory. If for your own
reasons, you wish to repair the drum yourself, Tim Hermann,
technician and repairman for The Modern Drum Shop in NYC,
offers this advice: "You need to glue the crack with a cyanoacry-
late-basedglue, the active ingredient in Crazy Glue or Elmers' Su¬
per Bond. Seal the crack with that and make a back-up plate out of
aluminum, slightly bigger than the back of the lug itself. Drill two
holes in this plate where the lug screws go through and use this to
help take offthe stress on the plastic a snowshoe effect."
Q. I've been taking drum lessons for about four years and I have a
problem. I'm right handed and whenever I practice rudiments, I
notice that my left hand is stronger for some reason. My teacher
says that because I play my right hand on the hi-hat, my left hand
does all the hard work. Please help.
J.C.
East Walpole, MA
A. One way to develop even-handedness is to buddy our endurance
and, thereby, your strength and control. Dexterity in right or left
hand is a matter of equalizing the weaker to the stronger limb and
proceeding from there. You might try the following exercise based
on George Stone's Stick Control. Turn to pages 5, 6 and 7 and
you'llsee that the exercises are written in 8th-notepatterns that
indicate right- and left-hand sticking. Set your metronome so that
80 equals the quarter note. Then, vamp with your right hand in a
straight 8th-notepattern, playing all the notes marked "L" with
your left hand. The right hand willfill in and play a constant pat¬
tern of 8th notes against this. Repeat each line twice before going
on to the next, without stopping. Do this until you play the first six
exercises on the page, then stop and raise the metronome one notch
and continue the exercise as before, vamping with your right hand
and changing metronome settings every six lines, all the way
through page seven. Then, bring the metronome back to 80 and
begin again, using the left hand to vamp and the right hand to play
all the "R"parts. This will slowly develop your endurance and
strength, out of which will come even-handedness. You may wish
to begin the exercise at a higher metronome setting but remember,
the point of this is for you to gain real control and dexterity with
both hands, so don’t cheatyourselfby rushing things.
Q. I recently saw Steve Smith play "The Black Page" at a drum
clinic in Toronto and he knocked me out. Do you know where I
could get a transcript of it?
P.D.L.
Toronto, Ontario Canada
A. For a complete listing of available Frank Zappa drum parts
contact: Barking Pumpkin Drum Transcriptions, 7720 Sunset
Blvd., Hollywood, CA. 90046.
Have a problem? A question? Ask MD. Address all
questions to: Modern Drummer, c/o It's Question¬
able, 1000 Clifton Ave., Clifton, NJ 07013. Ques¬
tions cannot be answered personally.
by Michael Epstein
Q. I have a 10 x 14 Ludwig tom-tom that has sounded like crap
ever since I got it. Can I take the supportive rings out of the ends of
this drum? I could be wrong, but I think it messes with the tone of
the drum.
D.W.
Sioux City, la
A. According to Ludwig, those supportive glue rings are what’s
keeping that drum from going out of round, as well as coming
apart at the seam. Any bent wood has a tendency to seek its origi¬
nal, flat configuration, so the thinking at that time was to support
the shell with the glue rings. Over the years, it was discovered that
the rings did not allow the column of air in a drum to vibrate suffi¬
ciently to produce maximum tone, so Ludwig wentfrom three-ply
shells with a "lap" seam and glue rings, to a six-ply shell with butt
joins. This solved the problem of shell strength and sound. As for
the drum sound, the reasons could be as varied as your choice of
head, an out-of-round shell, uneven tensioning, etc. Ifyou really
can ’tget a decent sound thatyou like, we suggest taking the drum
to a competent technician atyour local drum shop.
Q. I have recently acquired a beautiful set of black Yamaha
drums. I'd like to know a way to keep the drums free of finger¬
prints and other annoying marks.
B.C.
San Francisco, C A
A. You don’t mention what series the drums are whether it’s a
black piano finish or black plasticfinish. For the piano finish you
can use almost any furniture polish. Fora compound with a partic¬
ularly low silicone content, try a guitar polish. These polishes have
the advantage of not "attacking" the lacquer finish. If it’s plastic,
Ken Dramer at Yamaha recommends using Windex. He feels, if
you’re talking about afingerprint that’s only been there a short
time, you can just wipe it off. But if the skin oils and acids start to
set in, they can "eat" thefinish off either model.
Q. I have some old wooden drums. How can I restore a good bear¬
ing edge to them?
W.R.
No Address
A. This is the kind of do-it-yourself project that we would suggest
you try only ifyou are an experienced wood worker and have ac¬
cess to the proper tools. If such is the case, there are afew ways to
go about this. You can do it by hand, with a wood file, which is a
lot more difficult than using a router. Professional technician Marc
Coveil, of the Creative Drum Shop in Scottsdale, Arizona, recom¬
mends attaching the router to the edge ofyour work table, so that
the router bit is stationary. Next, you set up a guide for the shell, so
that it can be revolved evenly against the bit. The angle of the
bearing edge depends on the make of the drum, and there is contro¬
versy among designers as to what constitutes the most effective
bevel. Slingerland has a sharp edge; Gretsch has a rounded edge.
The round edge seems to put less pres sure on the heads, resulting in
less breakage and more evenly distributed tensioning, resulting in a
clearer lone. After you decide on the angle that’s right for you, it’s
essential to keep the edge level and in round as you rout. Take a
pane of glass, larger than the diameter of the shell, and as you
revolve the shell, stop often to lay the glass over the edge. It if
wobbles, or if, when you get eye-level with the glass, it’snot mak¬
ing contact at every point with the shell, you have to adjust accord¬
ingly. This all takes time andpatience. We would suggest talking to
a competent repairman in your area before beginning, and if it
seems like more than you can handle, allow him to do the work.
108
MAY 1983
Q. In recent years, the Swiss method of rudimental drumming has
come to the fore. The "bible" of this idiom is a book by Dr. Fritz
Berger entitled Der Basel Trommlen. Could you tell me how I may
obtain a copy of this book?
R.M.
Oakville, Ontario
A. As recently as 1980 this book could be obtained by writing to
Hug and Company, Gerbergasse 70, Basel-Bale, Switzerland. The
price at that time was 11 Swiss Francs. Published in 1965, the book
contains a collection of Basel drum solos and drum accompani¬
ments to fife tunes. F. Michael Combs, who provided this infor¬
mation for us, compiled a bibliography of Swiss rudimental books
which appeared in the PAS research edition for Spring-Summer of
1980. You may address inquiries to him at the Department of Mu¬
sic, University of Tennessee, Knoxville, TN37996-2600.
Q. I need some tips on the type of glue I should use for re-covering
my drums. Could you also tell me the approximate cost of plastic
to cover a 20" bass drum, a 16" floor tom and two 3" tom-toms in a
white finish?
R.M.
Tacoma, WA
A. It depends on the type of plastic you buy. There are two types.
One is a cellulose-acetate that requires Weldwood Contact Ce¬
ment. You apply a thin coat to both surfaces and let them dry
before bringing them togetherfor a bond. This type of glue sticks
to itself. For Satin Flame typefinishes, a light glue, like Elmer's is
used because this is a different kind of plastic, with a backing that
will be dissolved by Weldwood glue. White plastic for a 20" bass
drum will run you about $25. A 16"floor tom is around$20 and the
13" toms are $12 each. There are various companies offering plastic
for sale. You might try the Precision Drum Company, 151 Califor¬
nia Road, Yorktown Heights, New York 10598. TheyTlmailyou a
brochure with samples.
Q. I normally use Pro-Mark 7A sticks, but hitting my crash cym¬
bals directly on the edge really chews them up. I use up a pair a
month. They don't break, they just get all chewed up. Is this nor¬
mal or am I hitting them wrong? I recently got a pair of Duraline
55's and they're doing the same things. Will these sticks shatter if
worn too much?
D.W.
Jewett City, CT
A. There’s no way to stop a stick from shredding if you hit a cym¬
bal directly on the edge. Classic cymbal technique calls for a glanc¬
ing blow to the top edge. In most modern, high-powered music,
practice differs from theory, as you are finding out. The 1A is a
fairly light stick and a shredded pair per month, depending on how
much use it gets, seems to be a reasonable casualty rate. Eli Koni-
koff, ofSpyro Gyra, regularly shatters synthetic sticks, so it is pos¬
sible to do. Things could be worse you could be shattering your
cymbals.
Q. I have a problem sight reading. I do have a good understanding
of theory, but I find it very difficult to sight read and keep my place
in the music. Can you offer some suggestion as to how to overcome
this problem?
A.M.
Northfield, VT
A. The only thing to do is put your self in musical situations where
you have to do a lot of sight reading and just keep at it! Try and
find a rehearsal band in your area that reads through charts. There
are many players of other instruments who are in the same boat
and who need to improve their own skills. Get some Music Minus
One albums that contain charts and play along. The advantage
here is that you can go at your own pace. If you can, round up some
players and start a reading-type band. If everyone chips in for mu¬
sic, it can be done quite reasonably. There are many private in¬
structors who specialize in teaching chart reading. Whichever way
you choose to go about it, the more you do it, the more adept you
will become.
MAY 1983
Q. Recently I acquired a dark sounding ride cymbal that's
stamped "Made In Italy" in ink on the underside of the bell.
Who's the manufacturer? Are these cymbals available new in the
United States?
J.D.
New York, N.Y.
A. We showedyour question to Massimo Cappa, a representative
of the Tosca Cymbal Company in Italy. He told us that there is a
group of Italian cymbal makers called Unione Fabbrisuti Italisiri
Piatti (Union of Italian Cymbal Makers) who produce several
cymbals that fit your description. Massimo said that the produc¬
tion is very limited right now, and to his knowledge they are not
available new in the U.S.
Q. I am very much interested in bagpipe music. Who can I get in
touch with about joining a bagpipe and drum corps?
J.M.
Pittsburgh, PA
A. Try contacting Marching Bands of America, PO Box 97, Elk
Grove Village, III. 60007, or Drum Corps News, 899 Boylston
Street, Boston, MA 02115.
Q. I play Premier drums which were distributed by Selmer, but I
found that Selmer will no longer carry Premier equipment. Where
will I buy new equipment or find parts that need replacement?
R.M.
Grosse Pointe Woods, MI
A. Premier Drums are now being distributed in the U.S. and Mex¬
ico, exclusively by Music Technology Inc. Any dealers who have
previously handled Premier parts will continue to do so. Music
Technology is setting up a new dealer network to distribute the
drums themselves. To obtain a list of dealers inyour area, write to:
Tom Meyers, c/o Music Technology, Inc., 105 Fifth Avenue, Gmr.
den City Park, NY 11040. T
New ftom Pro-Mark A,
beouhful handTnished
dfumettcfc pen. Almost 7” long,
it just like one of our
hand-made drumsticks. and is
mode of Iha sorne -high Im¬
ported wood. Your cost is just $J.GG
per pen (plus St .00 postage gnd hand¬
ling 1 £ach pen comes with an extra Tefill
in on attractive gin cox.
S6Tk 3 $4.QQ per pen today, cdlow 4-6 WWki
lor delivery and you'll be rlgfrl In time to write
In Hmtf
We help you so ufi0 better M ft
ppomarA
* A Division q \ ft-emc, Inc
10706 Cog need/Houston. TX 77085
(713) 666-2525
TD9
Danny Gottlieb is currently in a period
of transition. He is no longer with the Pat
Metheny Group, after having been in that
band for six years. "It was time for a
change so I could become involved in other
musical situations. Pat also needed a
change since I was the only drummer the
group ever had. It's really the best for all
involved." For those of us who have en¬
joyed Danny's playing with Metheny there
is good news from ECM: later this month a
double album will be released which was
recorded live during the Metheny Group's
By the time this prints, hopefully Michael
Botts’ plans will have reached fruition.
When we spoke a couple of months ago,
Michael and Andrew Gold were in the
process of choosing members for their own
band, and negotiating with interested par¬
ties. Michael has been enjoying working in
both studio and live performance situa¬
tions. Last year he went on tour with Karla
Bonoff, in addition to becoming more in¬
volved in the L.A. studio scene. He says a
balance of both is necessary to keep the
playing fresh and exciting. '1 got so turned
on working with Karla again and doing the
live stage work. Every time I work with
A record I'm sure we're all looking for¬
ward to hearing is a combined effort by
Steve Gadd and Ralph MacDonald.
"About three years ago, I told Sieve that
one day we should do an album together.
He said he thought so loo, but with his
schedule and my schedule, it look three
years to gel going," Ralph MacDonald
laughed. "Steve decided not to go on the
road too much now and I stopped the con¬
stant travelling years ago, so in November
of last year, Steve called and asked if I were
still interested. We set up a lime to gel to-
Kenny Aronoff on upcoming album
with Mitch Ryder recorded in Southern In¬
diana. Jimmy Cobb is presently a member
of the Nat Adderley Quiniet. The band re¬
leased two live albums on Theresa Records
in late January. Tony Williams is in the
midst of a worldwide tour with VSOP
through August. Larry Londin can be
heard on upcoming Adrian Belew album,
recorded live in Champagne, Illinois. Lon¬
din can also be heard on Joe Cocker's up¬
coming release. Myron Grombacher is cur¬
rently in Japan with Pat Benatar. Graham
Lear is currently on lour in Europe with
Santana, including some Iron Curtain
countries. Lear also played on a couple of
Carlos' solo album tracks, produced by
Jerry Wexler. Look for Mark Sanders on
Tower of Power's next album, due out this
spring or early summer on Polygram. It is
the first album the group has recorded
since Mark joined them two years ago. Va¬
nilla Fudge album due out this month with
all its original members, including Car-
'82 tour, which included Danny and per¬
cussionist Nana Vasconcelos (who is also
no longer with Metheny).
Meanwhile, Gottlieb has relocated in
New York City where he is starting to en¬
joy a variety of musical situations. He
played several gigs with Brazilian guitarist
Toninho Horta, and did some jingles for
Elias Associates along with bassist Mark
Egan. "It was a lot of fun because they're a
company that utilizes the creative abilities
of the musicians." So listen for Danny's
trademark cymbal sounds.
new equipment, new people or a new situa¬
tion, I get excited all over again. I just want
to do it all. When I finished the six-and-a-
half weeks with Karla, about four days
later, I started on an album project with
New Zealand artist Sharon O'Neil. After
the first take, John Boylan [producer]
came out and said, 'Gee Botts, you ought
to go out on the road more often. Your
chops are up and you have all kinds of
fresh ideas.' I come back a little fresher,
with new ideas from working with some
other players."
Botts is delighted that he has finally bro¬
ken through the son of "type casting" he
gether and went into my studio. The con¬
cept is Gadd and MacDonald. He is a
drummer and I am a percussionist, so the
basis for the whole record is drums," he
explained, although adding that there is
other instrumentation on the record. "We
tried to gel the tom-toms and a lot of low
drums recorded properly. As opposed to
the drums fitting into the track, we let the
other musicians fit themselves into the
drums."
He and Sieve did a couple of clinics in
Germany and France at the beginning of
mine Appice. Bill Molenhof debuted his
new group in January called Words and
Music. The ensemble features his composi¬
tions, lyrics and drums. Congratulations
to Keith Knudsen who married Kale on
Valentines Day. Keith can be heard on the
Kendalls upcoming album. Steve McCall is
no longer with Air, and the group will be
performing with different guest percus¬
sionists. Look for Steve Smith’s completed
solo project on CBS records. The album is
called Vital Information and it's a radical
departure from Journey-related music.
Stix Hooper has officially left the Cru¬
saders. The Drum Band has been formed
with Scott Morris, Steve Mitchell and
Chuck Bernstein. Craig Krampf played on
a tune he co-wrote, recorded by Irene
Cara. Mike Stobie, drummer and owner of
Slowbeat Percussion Productions in L.A.,
is just home from a lour with Jan Berry (of
Jan and Dean) in the Far East. Just prior to
that, they loured Australia. Harvey Mason
is in Europe with Lee Ritenour. Jaimoe
by Robyn Flans
He and Egan have also been spending
time promoting their album collaboration,
Elements. In March, they did an East
Coast tour in conjunction with Flora Pu-
rim. Danny and Mark are now making
plans for the next Elements record. "Due
to the success of the first record, Elements
has become somewhat of a priority, but
I'm also looking to play with as many dif¬
ferent people as possible in order to pursue
my musical development."
went through when Bread ended. Pro¬
ducers just assumed he was a ballad player,
when in fact, Michael considers his forte to
be rock and loves to play hard. By the way,
for those who wondered whatever became
of Bread, the group did not choose to
cease. They have been tied up in litigation
since 1978 due to internal conflicts, hailing
all royally payments, recordings and per¬
formances. "Because of the amount of
lime the judicial procedure requires, when
the decision is finally reached, Bread will
be rock 'n' roll history. The only people
who are going to lose is the group and the
audience."
the year, as well as participating in Zildj ian
Day in Los Angeles. MacDonald is also
currently producing an album for Roberta
Flack, production being his emphasis these
days. "I've always been able to relate to
people's talents and step away from the
whole project and look at it from an objec¬
tive point of view. I think that companies
are responsible when they can get a pro¬
ducer who stays within the budget and still
turns out a decent project. I like produc¬
ing. I like gelling into other artists and try¬
ing to bring out the best in them and trying
to support what they're doing."
Johnson has been devoting his lime to two
bands recently. The Pearl is a straight¬
ahead jazz band featuring T. Leviiz of the
Dregs on keyboards and Earl "The Pearl"
Ford on trombone. Tall Dogs is a more
rock-oriented band with Steve Kent on
drums and vocals and Jaimoe on percus¬
sion. Hal Blaine can be heard on upcoming
David Frizzell and Ray Price albums.
Edward Metz is now the drummer in the
Count Basie Orchestra. Percussionist
Melvin Webb died November 12, 1982.
Our condolences to his family and friends.
Terri Lyne Carrington won the Outstand¬
ing Jazz Talent Award at the National As¬
sociation of Jazz Educators 10th annual
convention in Kansas City. Peter Erskine
spent much of April louring with Steps
Ahead (formerly Steps) following the
April release of their first Elektra/Musi-
cian album. Look for the group this sum¬
mer at the Kool Jazz Festival and the Play¬
boy Jazz Festival.
1 >
Six decades of Slingerland®
engineering and research have
combined to bring you the finest
drum set available in the percus¬
sion industry today.
The Magnum system features the
latest in percussion innovation and
technology.. .maximum durability
... infinite flexibility and of course
the famous Slingerland® sound.
Features:
• Magnum 10"x10" through 15"x15"
Mega-Toms™.
• Lightening-fast Magnum foot pedal.
• Triple-chrome-plated hardware.
• Polyurethane fittings virtually elim¬
inate metal to metal contact on
all hardware for a free drum or
cymbal sound.
• Magnum Snare stand adjusts to any
position you will require.
Superset rM locks with
jusi a turn of our standard
drum key tor precise
height adjustment and
easy set-up or tear-down.
Magnum Tom Holders
provide maximum
stability and infinite
versatility of multi tom
arrangements.
Magnum Stands heavy
duty \ n steel flatware
tegs for unsurpassed
stability.
SJapsbot lw Snare Strainer
smooth, precise, offers
consistent snare tension
in either on or off posi¬
tion, eliminating sym¬
pathetic vibrations.
SLINGERLAND
8633 N. MILWAUKEE AVE.
NILES, ILLINOIS 60648
PHONE (312) 647-0377
ZILDJIAN DAY IN L.A.
GARIBALDI PAISTE SEMINARS
The Avedis Zildjian Company
brought together a line-up of
outstanding percussionists to
conduct clinics, free to the pub¬
lic, for "ZildjianDayinL. A.,"
hosted by the University of
Southern California. Pictured
(left-right) are: Phil Ehart, Lar-
rie Londin, Rab Zildjian (vice¬
president/sales, North Amer-
Drummers Collective an¬
nounces the formation of a
Samba Percussion Workshop.
The program is being taught by
some of Brazil's top percus¬
sionists. It is an opportunity to
play a variety of authentic Bra¬
zilian instruments and their ac-
ED JACKSON
JOINS
SLINGERLAND
Spencer Aloisio, director of
sales and marketing for the
Slingerland/Deagan Co., has
recently appointed Ed Jackson
as field sales manager for the
Texas, Oklahoma, Louisiana,
and Arkansas area. Mr. Jack-
son has an extensive percussion
background including four
years with the Marine Drum
and Bugle Corps as a player and
instructor. This background
will enable Ed to act as a
Slingerland sponsored clinician
for the dealers and band direc¬
tors in his area. These clinics
may be arranged free of charge
upon request. Mr. Jackson
holds a Bachelor of Arts degree
from the University of Georgia
and will handle Slingerland/
Deagan products exclusively.
ica), Ralph MacDonald, Steve
Gadd, Carmine Appice, Tony
Williams, Lennie DiMuzio
(Zildjian merchandising man¬
ager) and Jay Wanamaker. Ab¬
sent is percussionist Alex
Acuna. Zildjian and Mac¬
Donald display the commemo¬
rative t-shirts that were distrib¬
uted to those in attendance.
companying rhythms and
styles. This program is being
presented in association with
Latin Percussion Instruments.
For information: Drummers
Collective, 130 W. 42nd St.
Suite 948, New York, NY. (212)
840-0433.
SABIAN CYMBAL
DISTRIBUTORS—
U.S.A.
The Sabian cymbal company of
New Brunswick, Canada, is
proud to announce that distri¬
bution of all Sabian cymbal
products will be handled
through the following drum
companies only: Ludwig Indus¬
tries, Pearl International Inc..
Slingerland Drum Co., and
Charles Alden Music Co. Inc.
Roy Edmunds, Sabian North
American Sales Director, states
that the acceptance by these
U.S.A. percussion companies
to handle the product is a reflec¬
tion of the confidence they
have, not only in the product
but for the team at the Sabian
plant.
David Garibaldi has been
named to the Paiste seminar
staff. Ed Llewellyn, Paiste
America president commented,
"Dave is an extremely knowl¬
edgeable and articulate drum¬
mer and we're very happy to
have him as our spokesman in
seminars around the country.
He's a fountain of insight
about cymbals and drumming
and I'm sure he will provide
drummers with plenty of food
for thought."
Garibaldi has been a profes¬
sional drummer since age 17,
and joined Tower of Power in
1970. He has performed and re¬
corded with many artists, from
Hoyt Axton to Joe Henderson.
DONEGAN APPOINTED
MANAGER¬
MARKETING
SUPPORT AT ZILDJIAN
The Avedis Zildjian Company
has appointed Gerard J. Done-
gan Manager-Marketing Sup¬
port. Donegan is responsible
for managing a wide variety of
programs which support Zild-
jian's worldwide sales effort,
and insuring that it is compati¬
ble with the company's long¬
term marketing goals and ob¬
jectives. His responsibilities
encompass customer service,
public relations, trade shows,
direct mail and collateral pro¬
grams, merchandising display,
premium/promotionprograms
and materials, as well as other
sales and marketing projects.
Donegan joined Zildjian in
1966 with responsibility for
shipments and traffic. He be¬
came Traffic Manager in 1976,
and Customer Service Manager
in 1979.
On becoming part of the
Paiste Seminar staff, Garibaldi
said, "I believe that drummers
should explore the musical po¬
tential of their instruments and
seek ways to expand their musi¬
cal horizons. I find it very stim¬
ulating to share my ideas in a
seminar dialogue with drum¬
mers. The incredibly wide
range of sounds from Paiste
has been an inspiration to me
and I'm pleased to pass the
word along."
For more information about
David Garibaldi Seminars con¬
tact: Drummer Service, Paiste
America, Inc., 460 Atlas Street,
Brea, CA 92621.
LP HIRES SALES
COORDINATOR
George Rose has joined the
staff at Latin Percussion as
sales coordinator. In 1979,
Rose started his sales career as
the New York area representa¬
tive for Musical Instrument
Corporation of America. After
a year, he was transferred to
M.I.C.A.'s home office to ex¬
pand and enhance their sales ef¬
fort nationally.
His responsibilities include
coordinating outside and in-
house sales efforts, and initiat¬
ing new ideas to keep Latin Per¬
cussion one of the industry's
leaders.
SAMBA PERCUSSION WORKSHOP
112
MAY 1983
Four leading drummers, four different styles.
Four more reasons for playing Yamaha System Drums.
Because I’ve always been
ve ry co n ce rn e d w i t h t h e
quality of sound in a drum,
1 use tbe Recording Custom
Series drums, with these
beautiful all-birch shells
and a black piano finish.
They give me a very con¬
trolled resonance with a 3at
of tone. They let me relax
with the music, so l can
adjust my touch to any vol¬
ume requirements. Yamaha
d nmis a re ve ry sen si ti ve,
and there's always a reserve
of sou nd.
Yve always tended to go
for simple equipment like
the Tour Series snare
drum with eight lugs, be¬
cause it’s easier for me to
get the sound. Same thing
goes for my hardware, which
is why 1 like the 7 Series
hardware. I don't require
really heavy leg bracing so
the lightweight stands are
just fi n c; ve ry qu i et , t oo.
With some drums, there
isn't too much you can do
to alter the sound. Some
will give you a real deep
thud, and others are real
bright. With Yamaha, I can
get both sounds, they're just
very versa ti le. Mostly I like
a deep round sound with
tight definition, since my
concept is that a drum is a
melodic instrument like
anything else. I can hear
drum pitches, and Yamaha
lets me achieve that without
a lot of constant redlining.
A s farastheir h a rd w a re.
the snare drum stand and
boom stands are very well
thought-out. They feel like
they were designed by a
drummer, and they're not
limited at all. The 9 Series
snare drum stand’s ball till¬
er is fantastic; you can get
the perfect angle for your
playing posture. And the
boom stand titter can double
as two stands because it
doesn't have a long handle.
So the boom slides right in¬
side the rest of the stand if
you don't need it. All in all,
Yamaha is the perfect set
of d rums for tone quali ty,
sound, and ease of set-up.
I'd been playing the same
set of drums for ten years
when I met up with the
Yamaha people during a
to u r o f I a pa n w i t h Rain bow.
i told them that if they
could come up with a kit
that was stronger, louder
and more playable than
what I had, Fd play it. So
they came up with this
incredible heavy rock kit
with eight ply birch shells,
heavy-duty machined hoops
and a pair of 26" bass
drums that are like bloody
cannons. And since I’m a
v e ry 1 1 ea vy p I a ye r w h o
needs a lot of volume,
Yamahas are perfect For me.
And the sound just takes
off—the projection is fan¬
tastic so l can get a lot of
volume without straining.
There isn't an electric
guitarist in the world who
can intimidate me. and Fve
played with the loudest.
Yamaha drums just cut
through better, like a good
stiletto. They have the fat¬
test, warmest, most power¬
ful sound of any kit Fve
p laye d a n d they can rea 11 y
take it. For my style,
Yamaha is the perfect all-
around rock kit.
Yamaha makes profes¬
sional equipment with the
professional player in mind.
They’re just amazing-
sounding drums, and the
Fact that their shells are per¬
fectly in-round has a lot to
do with it. The head-to-hoop
alignment is consistent; the
nylon bushing inside I he
lugs are quiet and stable so
Ya in a h as I u ne real easy and
stay in tune, too, I have a
snare and it T s good as
anything out there. H speaks
fast, with n really brilliant
sound and a lot of power.
When you hit it hard, the
drum just pops. And the
throw-off mechanism is
quick and agile, with good
snare adjustment—it’s a
basic design that works.
And Yamaha hardware is
really ingenious, every bit
as good as the drums, Mike
the 7 Scries hardware be¬
cause it s light and strong,
especially the bass drum
pedal, which has a fast, nat¬
ural feel. What can l say?
Everything in the Yamaha
drums system is so well
designed, you want for noth¬
ing. Once you hook up with
them, you ’ll stay with them.
Yamaha Musical Products * A Division of Yamaha International Corporation ■ Box 7271, Grand Rapids, MI 4aStO
AQUARIAN
HI-ENERGY
MIKING
SYSTEM
Aquarian breaks the sound bar¬
rier for sound men and drum¬
mers. According to Roy Burns,
owner of Aquarian accessories,
"Our new, Hi-Energy Miking
System delivers maximum
sound with minimum distor¬
tion. High technology mic's are
ideal for drums, cymbals, and
percussion instruments."
"Shock proof" clamps elim¬
inate the need for boom stands.
There is no stage rumble, or no
need to drill holes or re-make
the drumset. They provide fast,
easy, set up and perfect mic'
positioning every time.
Slingerland features it's new
Iso-Lok clutch on all Magnum
Hardware. Iso-Lok is a quar¬
ter-turn mechanism which
locks-in the stand position
when the lever is down, or al¬
lows the tube to move freely
when the lever is up.
Along with the Iso-Lok
clutch, Slingerland has devel¬
oped the Superset. The Super¬
set is a height-adjustment de¬
vice which enables the player to
set up stands the same way
every time. Overlapping edges
enable the Superset to fit snugly
around the Iso-Lok and pre¬
vents the stand from turning
side to side. The new Magnum
McCune Sound, one of the
nation's largest sound compan¬
ies, has been field testing the
unit in actual concert situa¬
tions. Engineer after engineer
attested to the realistic and un¬
colored drum sound. The Hi-
Energy System out performed
mic's that are twice as expen¬
sive in side by side concert situ¬
ations, according to McCune's
engineers.
For information write: Aq¬
uarian Accessories Corp., 1140
N. Tustin Ave., Anaheim, CA
92807.
hardware line features many in¬
novations such as Iso-Lok and
Superset. All of these items are
now available for immediate
delivery. For more information
visit your local Slingerland
dealer or contact: Slingerland
Drum Co., 6633 N. Milwaukee
Ave., Niles, IL 60648.
Axis Video has released three
drummer video tapes. Bill Bru-
ford has compiled Bruford and
The Beat, which was seen by
many attendees of Bruford's
recent clinic tour in the U.S. for
Tama drums. Axis also has two
videotapes on Max Roach: Max
Roach: In Concert and Max
Roach: In Session.
For more information: Axis
f Video, 8414 Park Heights
Ave., Baltimore, MD 21208.
SPECTRASOUND
CHIME CASES
For the percussionists who are
looking for chime cases,
Spectrasound has them. The
case in the photo holds the
Spectrasound 35 chime Mark
Tree. There are also fibre cases
available for the 70 chime Mark
Tree. Finally, the company car¬
ries a padded bag for the
smaller Mark Tree.
For more information:
Spectrasound Percussion Prod¬
ucts, 13636 Burbank Blvd.,
Van Nuys, CA 91401.
REMO SINGLE-HEAD
PRE-TUNED
DRUMSETS
Three single-head drumsets,
designed to sell from $267 to
under $380, have been added to
the Remo Pre-Tuned Series
(PTS) line.
Each set features a 14 x 22
bass drum equipped with a sin¬
gle Ambassador Dark Coated
PTS drumhead, said to deliver
a punchy "kick sound" for
rock, disco and studio perform¬
ance, plus a 5 x 14 two-headed
snare drum. A 9 x 13 tom-tom,
a 14 x 16 floor tom and a 8 x 12
tom-tom are added to complete
the three-, four- and five-piece
sets. Pedal, hi-hat stand, snare
stand and cymbal stand are in¬
cluded with each set.
All the drums have Acousti-
con shells with white finish and
are furnished with replaceable,
chrome-trimmed PTS drum¬
heads.
NEARY
DRUM-TORQUE
The Neary Drum-Torque, dis¬
tributed by Dalcam, produces
high-level tonal control while
reducing tuning time substan¬
tially. Essentially, the Drum-
Torque is a torsion wrench
which allows precise, equal ten¬
sioning of all bolts on a given
drum. A dial on top of the
wrench tells you how much
force is being applied to the ten¬
sioning bolt. Charts indicate
specific tensioning values for
various sets of drums and sock¬
ets of all sizes are available.
Developed first in 1977, the
Drum-Torque has sold in Eng¬
land, Scotland, Germany,
France, the Scandanavian
countries, and Spain. Only re¬
cently have manufacturers be¬
gun to market the product in
North America, and already re¬
sponse has been overwhelm¬
ingly positive.
The advantages to the drum¬
mer are immediate. After set¬
ting up in a hall, all the drums
can be tuned in five minutes.
Even in a noisy hall or in the
presence of other practicing
musicians, tuning can be ac¬
complished simply and accu¬
rately.
For more information con¬
tact: Dalcam Music Industries
Ltd., 6070 Quinpool Road,
Halifax, Nova Scotia, Canada
B3L1A2.
CAIXA MARCHING
SNARES
This is a widely used instrument
in the Escolas de Samba in Bra¬
zil. They are available in 3 x 14
and 6 x 14 sizes, in either metal
or wood shell with plastic
heads, with a metal leg rest and
a clip for a shoulder strap.
These drums have applications
in all types of marching music
and stage performances. Im¬
ported from the Gope Factory
in Sao Paulo, Brazil. For cata¬
log send $1.00 to: World Per¬
cussion Inc., P.O. Box 502 Ca-
pitola, CA 95010. .*
SLINGERLAND INTRODUCES THE
NEW ISO-LOK CLUTCH
ROACH AND BRUFORD VIDEO TAPES
114
MAY 1983
A
IM70
IM80
Lesson On Miking Your Drumset
Brought To You By
Ibanez, Tama, And Joe English.
The IM76. . Tor the low end, such as
floor toms and bass drums.
And for penetrating sound with a
sharp attack. . The IM7G.
When I heard that Ibanez had come up
with a new line of microphones designed
exclusively for use with drums. ! was
anxious to hear the results. If you have
experience with miking drums, you know
how their sound can present a problem.
And because drums are so unique as a
sound source, it’s important that each
area of the set is handled in the right
way. Now. Ibanez has virtually eliminated
drum miking problems with the introduc¬
tion of their Tech II microphone line. The
Tech II line has been carefully designed
to accomodate every aspect of percussive
sound, from the splash of a cymbal to the
kick of your bass.
Tama Strongman Mikestands
MS 155 MS 455 MS 355
What’s the biggest problem with mike
stands when it comes to miking drums?
Yoirve got it. , , “Boom Sag.” You’ve
probably been faced with this problem
many times but just didn’t know what to
do about it. Most mike stands weren’t
designed to hold up under the kind of
heavy duty usage required in drum miking.
The answer to this problem is simple.
Tama Strongman Mike-stands.
Tama mikestands incorporate many of
the same rugged features found in Tama’s
Titan line of hardware, so you know it’s
the strongest you can buy.
Thanks to Ibanez mikes and Tama mike¬
stands, there’s finally a complete system
for miking your drums.
TAMA
For a full color catalog send $2.00 to: Ibanez/Tama Dept. MD: P.O.Box 886 Bensalem, Pa. 19020;
P.O. Box 2009 Idaho Falls, Id. 83401; 17421 B East Gale Ave. City of Industry. Ca. 91748; In Canada; 6355 Park Ave, Montreal. PQ H2V 4H5
ADVERTISERS INDEX
American Percussion
Aquarian Accessories
Armen Percussion Concepts
Berklee College of Music
Calato
Camber Cymbals
CB-700
Corder Drum Company
Countryman Associates
Creative Drum Shop
Dean Markley Stix
Dial-A-Drum
Discount Music & Drum World
Drummers Collective
Drummers World
Drum Torque
Drum Weai
Drums Ltd.
DrumsUnlimited
Drum Workshop
Duraline .
Freeport Music
Gon Bops of California ....... 95
Gretsch ....... Inside Back Cover
Imperial Creations ..... 62
J.C/s Drum Charts ...... 67
Jopa Percussion .... 87
Latin Percussion .. . . 36,41
Long Island Drum Center .. 48
Ludwig . Inside Front Cover,37
L.T. Lug Lock ..... 78
Manny's Music Store .*..... 63
MayEA .... ....... 57
Mechanical Music ....... 40
Mel Bay Publications ... . 38
Migerian Drum Company ... .88
MD Library ..... 105
MD Back Issues ....... . .. ... 84
Modern Drum Shop ............. . 88
Musician Player & Listener ... 79
NJ Percussion Center .......... . 93
NuVader __ 47
Ohio University .. 66
Pace Practice Pedal Pads ..... 62
Paiste ........-...- .... 7
Pastore Music ............... . 67
Pearl International . 43
Percussion Center .. 78
Percussion World .. .......... ... 67
Peters Percussion ....... 34
Pied Piper .... 98
Precision Drum Company . 62
Premier .. .... .... 3
Promark .... 48,109
Regal Tip ......*. 69
Remo ...*.— 45,76
Resonant Drum Sticks ..... 69
Rick Latham . 56
Rim Shot Productions . 78
Rogers . . 5
Rolls Music Center ------- 89
Sabian Ltd .... _ 39
Sam Ash Music Stores .. 54
Shure Bros ----- ....... 35,91
Simmons .. 103
Slingerland .. .111
Sonor ............ ..... 33
Stanley Spector School ....... 55
Tama (Hoshino) . 50/51,58/59,115
Universal Recording Corp . 67
Valley Drum Shop . 56
Vic Firth . 53
Yamaha ......... .113
Zildjian ........ Back Cover
....... 95
. 52
.66
. 82
. 42
_ 31
.. 49
.. 85
.61
__ .102
.... 28/29
•. 66
...... .102
. 77
....... 89
.. 73
....... 54
. 87
__ 85
_ 101
83,83,98,99
67
DILL
JUNE'S MD
DRUFORD
MARK CRANEY
Plus:
Mike Clark
Warming Up and
Cooling Down
TERRY
CLARKE
AND MUCH MORE ...
DON'T MISS IT!
AND THE
UNBEAEABLES
GOON...
Charlie Rolling ShttiM
Tbny Drummer
B etween Charlie Watts and Tbny Wiliams, there’s
about 40 years of sets, from laid-back to blistering
... all of them on Gretsch. Both Watts and Wiliams
have brought their own unique styles and brands of
improvisation to music we’ve grown up with, and it looks
as though their inventiveness and consistently inspired
playing is going to surprise and delight us for a long time
to come.
In a business where the competition is fierce and
the turnover incredible, the fact that they’ve stuck with
Gretsch from the start is a pretty eloquent statement.
We rest our case, and the unbeatables go on ... and on
... and on.
P.0, Bo* 1250. Gallatin. TN3T0m(615)452-m3
THE UNBEATABLE SOUND INVESTMENT
nilsctf
Tony Williams, who has played only K. Ziidjian cymbals made in Istanbul
during his entire career, has found something new.
The new K. Now made in the United States. But still individually cast from the
secret Ziidjian alloy, and hand-hammered in the Ziidjian tradition. By the
Avedis Ziidjian Company, makers of cymbals for 360 years.
Accomplished drummers describe K. Ziidjian cymbals like connoisseurs
describe a fine wine.
“Deep, mellow, and rich,” says Tony.
‘Their lower frequency range gives them a dark, dry tonal quality. With fewer
overtones, I can get a tighter sound, really digging in without getting overpowered."
Careful hand-hammering, a skill that took generations to perfect, is what gives the
K its legendary sound. While others have tried to duplicate
it, in the whole world there's still only one K.
Ask Tony Williams.
For your copy oi a lull-colorTony Williams poster, plus a
Ziidjian Cymbals and Accessories Catalog, send S3.0D to (headdress below.
Avedis Ziidjian Company, Cymbal Makers Since 1623. Longwater Drive, Norwell. Mass. 02061. USA The only serious choice.
MO 53
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Open Library
American Libraries
TV News
Understanding 9/11